With the gaming industry booming, many people are interested in becoming game developers. But Is a degree needed to become a game developer?
Game development is a rapidly growing industry that has been expanding for the last two decades. The demand for skilled game developers is increasing as the video game industry continues to grow. In order to work in the video game industry, may not be necessary for anyone looking to get into the game industry. There are many different paths to success, but most people usually work their way up from the bottom—meaning, by working as a programmer, artist, etc.
So, There is no one-size-fits-all answer to this question, as the answer will depend on your individual background and experience, as well as the specific game development industry you are interested in working in. However, in general, most game developers do require a degree in order to gain the necessary skills and experience.
Is a degree needed to become a game developer Table of Contents
Things to Consider Before Taking on a Game Development course
The gaming industry is one of the fastest growing industries in the world. It has grown to a point where it has become a multi-billion dollar industry and is expected to grow even more in the coming years. With so many people interested in this field, there are many colleges that offer game development degrees.
Here are some things to consider before taking on a game development course:
– What type of games do you want to develop?
– What skills do you have that will help you learn the course material?
– How much money can you spend on your education?
– How much time can you devote to studying for this course?
Is There an “Ideal” Game Development Curriculum?
There is no “ideal” game development curriculum. There are many different paths that you can take to get into the industry. One path is to go through a traditional game design program, where you will learn how to design games and build a portfolio of games that you have designed. Another path is to take an online course in game development, which will teach you the basics of how to make video games. You can also start in the industry by doing contract work or internships with developers and working your way up from there.
The most common degrees for people who want to work in the game industry are computer science, art and design, or programming. Some schools offer degrees that combine all three of these fields together.
Some Considerations on choosing options to become a game developer
Section 1: What Does a Game Developer Do?
A game developer is a professional who creates video games. A game developer typically has a degree in computer science or related field. However, not all developers have a degree. Some people learn how to create video games through self-taught methods.
Game developers are put in charge of the design and creation of games from the ground up. They brainstorm ideas, bring those ideas to life by programming them, and spend countless hours refining their game so that it’s enjoyable for players.
Section 2: What Skills are Necessary?
There is no one-size-fits-all answer to this question, as the skills required to become a game developer will vary depending on the specific field of game development. However, general skills that are often required include strong programming and design skills, as well as an understanding of gaming mechanics and engines. Additionally, many game developers also require a degree in computer science or another related field.
Section 3: What Types of Degrees are Available?
There are many different types of degrees that are available to those who want to become game developers. Some of the most common degrees include degrees in computer science, programming, game design, and game development. It is important to choose a degree that matches your interests and skills.
Section 4: What is the Average Salary for a Game Developer?
There is no definitive answer to this question as the salary for a game developer can vary greatly based on experience and qualifications. However, according to the website Glassdoor, the average salary for a game developer is $98,000 per year.
Game development is an industry that is growing at a rapid pace. This article has explored the importance of the education in game development and how it can provide a foundation for a successful career in this field.
A degree in game development can provide students with skills necessary to succeed in the field, including technical skills and creativity. It also provides them with invaluable experience and connections that will be useful throughout their careers.
While a degree may not be necessary to become a game developer, it can certainly help. It is important to have strong programming and math skills, as well as experience with game engines.
A career in game development can be a lucrative and rewarding experience. However, without the right skills, it can be challenging to enter the field. It is important to have strong programming and math skills, as well as experience with game engines. While a degree may not be necessary to become a game developer, it can certainly help.
Game developers can make a lot of money if they are careful and try to be consistent with their game development, in this article we are saying to game developers: don’t make these top 4 mistakes, if you want to be successful
Making a video game is an art form, but it’s also a business, and no one ever said that game development was easy, and while there are a lot of ways to make money in the industry, there are also a lot of ways to lose money.
The top game developers earn millions of dollars every year. However, there are a few mistakes that these developers make that can cost them a lot of money. Like in any other business, there are risks and rewards. The biggest risk for a video game developer is making a game that no one wants to play. But there are other mistakes that can be just as costly.
In this article, we’re going to take a look at the top three mistakes that game developers can make, and how to avoid them. We will not cover game design mistakes as we think they have different origins and solutions. We will not also look into game engine problems, like Unity Mistakes, or Unreal complexity, and only focus on mistakes game developers as a whole can do.
Game developers: don’t make these top 4 mistakes Table of contents
Mistake #1:Trying to do too much themselves.
Many game developers make the mistake of trying to do too much themselves. This can lead to a lot of frustration and wasted time. If a feature is not essential to the game, don’t try to implement it yourself, Hire someone who can do it better than you and save yourself time.
Mistake #2: Focusing on graphics over gameplay.
Games are a visual medium and as such, graphics are important. However, graphics should not be the focus of game development at the expense of gameplay. Inexperienced developers often make this mistake, which can lead to a game that is visually appealing but lacks engaging gameplay. This can be a costly mistake, as players will quickly lose interest in a game that is not fun to play.
While graphics are important for any video game, they should not be the sole focus. Gameplay is what makes or breaks a game, and developers who prioritize graphics over gameplay tend to create lackluster titles. This mistake can be seen in games like “No Man’s Sky” and “Final Fantasy XV”. While both games look great, they are shallow and lack the depth needed to make them truly enjoyable.
Mistake #3: Relying too much on marketing stunts instead of quality gameplay.
This can be a major downfall, especially if the gameplay isn’t up to par. Players will quickly lose interest in a game that doesn’t offer a good gaming experience, no matter how many flashy marketing stunts the developer throws their way. It’s important to focus on creating a high-quality game that players will enjoy, and let the marketing take care of itself.
Mistake #4: Not enough beta testing before launch.
It’s no secret that the video game industry is a competitive one, and In the world of video game development, beta testing is essential. This process allows developers to test their games with a limited audience before release in order to find and fix any glitches or bugs. Unfortunately, many developers make the mistake of not spending enough time beta testing their games. This can lead to a number of problems, including negative feedback from players and even game crashes.
With so many games vying for consumers’ attention, it’s essential for developers to ensure their games are as polished as possible before launch. One of the most common mistakes developers make is not beta testing their games enough before release. This can lead to all sorts of problems, from glitches and crashes to imbalance and game-breaking bugs.
It’s important to get feedback from beta testers and make the necessary changes before releasing your game to the public.
By beta testing their games extensively, developers can avoid these issues and ensure a smooth launch for their titles.
In conclusion, Making money in the game development industry can be a difficult task. There are many things you can do to increase your chances of success, but there are also many things you can do to decrease your chances. In this article, we have discussed some of the most common mistakes developers make when trying to make money in game development. By avoiding these mistakes, you can maximize your chances of success.
Have we missed any mistake? Why don´t you share them in our comments? If you want to read more interesting articles about game development check our blog!
With over 700 games released every day, the real challenge is not how to make a game, but how to get it to players. In this article we’ll look on Indie game marketing, and How to market your indiegame with 17 advices that will hopely lead you to success.
Also, According to VG Insights*, over 50% of indie games on Steam have never made more than $4,000, but the top 1% have made over $7 million.
If you are working on other platforms (such as consoles), you will probably face the same numbers that are apparently running against you and your objectives of making a successful game.
It’s been an uphill battle for indie games, but over the past five years, freelance studios and developers have taken advantage of advances to create console bestsellers that rival games produced by the big studios. This should be an inspiration to developers looking to make an indie game this year, but how do you know if you’re ready to release that game?
Around 85% to 90% of indie games fail to recover the investment made in creating the game. There are a lot of reasons why these numbers are here, and in this article we are going to see some of them.
What is an indie game?
An indie game is a video game created by an individual or small development team that does not have the financial or technical backing of a major game publisher. The term was coined in very early 2000s, and in the 2010s, it has become a common way for indie developers to refer to their own video games. Indie games are often made available for download through PC-based digital distribution platforms such as Valve Corporation’s Steam, but also through other means such as through online marketplaces and indie game stores.
The term “indie games” can be used for any video game that is made by a developer who does not have the backing of a major publisher.
Why do indie games fail? Two possible pitfalls
So why do indie games fail, and how can you avoid them? Are there some indie game marketing strategies that could be useful? Here are two of the most common mistakes and how to avoid them.
Not looking a game development as a business
Companies don’t make games “for fun” or “to play their dream game.” They may be having fun or making their dream game, but their goal is to make money. If you want to make money as an indie developer, you need to approach it like a business. Here, from my experience, are some of the basic steps you need to take to be successful.
Draw up a business plan. Before you start, before you invest anything other than time and research, make sure you have a proper plan. Importantly, don’t do it half-heartedly.
A business doesn’t make money from its products. It makes money from selling the product. It is important to invest in the right business relationships. Go to industry unions and hold meetings and make calls. Learn how to talk to other business people and how to get contracts. Go to conventions and don’t attend any part of the convention – spend all your time in satellite meetup groups and fish for customers, publishers and potential contacts.
Spend a lot of time in public relations. Even a crappy game will sell with the right PR, and even a great game will not sell without PR.
Make sure your product (and plan to make more than one product) and costs (employees, office space, overhead) don’t exceed your initial money before you try to make a profit. Game development is a slow process. If you expect your first game or contract to take three months, make sure you have at least six months of funding in case it fails. Better yet, have enough for a year or two.
Your first product is unlikely to be a big success, and the same goes for your second and third. Statistically speaking and as an example, the break-even point in the mobile sector is about 10 games: companies that have made more than 10 games have consistently made more than $30,000 per game in the app store. By comparison, the average revenue for the first game is about $200, and the average for all games is about $1,000 per game. In other words, it is better to get used to it than to learn from it.
In short, if you want to make money as an indie developer, you need to think about how to run a profitable business, not just about turning your big game into the next blockbuster or to be the next Kojima. The same happens in other industries – you may be a great chef but your restaurant won’t be successful, you may be a great reader but your small bookstore won’t make money.
Not taking seriously the marketing part of game development.
Before you start your game, you are probably wondering how much you can spend on marketing your indie game. First of all, there is no “right” amount and success is not tied to a specific budget. A high budget does not guarantee success, and a low budget does not guarantee failure.
A successful marketing strategy starts with a thorough analysis of current trends and, more importantly, the people behind them. Specifically, we consider what your potential competitors are doing and what your potential customers are looking for. If you know your game genre or niche, be sure to analyze what the current niche leaders are offering and how the biggest titles in that genre are performing. This information will be invaluable when fine-tuning your game to meet the needs of your users.
There are a lot of misunderstanding in relation to marketing in video games, being the first and most common, that you would need to have your game fully finished before starting to think about marketing. This was probably true 15 years ago before the rise of indie games, but now, you don’t need a finished product to think about your promotional strategy. Moreover, you need a plan that constantly reflects the current state of the industry.
The number one mistake from studios around the world, is being a couple of months away from the game launch, and not having yet started their promotional campaign. No matter what you have heard on the Internet, there is no last-minute miracle solution to not having done correctly your marketing. Promoting any product, especially a video game, is not something that can be dispatched in a weekend. On the contrary, most of the games you like were marketed for months before you first heard about them. Bringing a new title to market is a painstaking process that can take six months to a year or more. When you factor in the time it takes to build a community, you can see why you should have started already.
The goal of the marketing is to understand if your game is unique enough to stand out. preferably before you start dedicating resources to it , and have some appeal the game audience.
Speaking of audiences, this first step cannot be completed without explaining the structure of the consumer market. We are usually grouped as ‘gamers’, but the group of people who can buy your game can be divided into multiple categories. We will cover this in more detail in the first two points of our advices and in the point related with creating communities and social media.
Indie mobile game marketing will be probably the same as for any other indie, with the difference of some specific different tools like for example ASO ( application search optimization).
13 things you need to do to market your game.
Understand the size of the game industry and the games ecosystem
Niche down and understand the players in it.
Make a game that players want to play.
Understand the game you are making
How to describe your game
Make an epic trailer
Build a marketing funnel
Network with platform owners and other developers
Optimize your funnel
Using festivals, press, streamers, and social media to get your wish list
Launching your game
Game updates and discounts
Prepare your next game
Getting ready to launch your indie game
In the early days of indie games, you could get away with very little marketing strategy. The idea of having a unique game outside of those developed by the big studios was exciting and fresh; in 2021, the same excitement that gamers have for indie games has evolved and matured a bit. They’re no longer “new”, but they can still be exciting.
One thing to keep in mind is that the timing of your indie game marketing may be different from your competitors. Don’t feel pressured to market your game earlier than you think is appropriate. There is no “right” time to market an indie game, it is more important to conduct market research, test your game, optimise all touch points and create compelling assets for your trailer, press kit, social media channels and app shop.
Marketing an indie game takes almost as long as creating the game itself. To help you understand the key priorities in marketing an indie game, we’ve included advice on what to prioritise, who to engage with and the impact these two steps can have on your game.
Preparing your indie game marketing before starting development
0. Have a plan a tools to control its progress
The first thing you need is to define a plan for your marketing activities, what would lime time frame, what will be resources ( people and materials), when will you start And most importantly, you need a way to track your progress and make sure that each step is being executed as intended.
But how do you actually plan a marketing campaign? This is big question, where the daunting of its size make post indies abort, or look for the advices of other people that will probably know more about it.
But, it is really not that difficult to do, if you have a clear understanding of the purpose of a marketing plan: Before and while developing your game, understand which people likes to play your type of game and how can you make them get aware of your game as to have enough of them buy it and recover your effort. In reality the activity will also continue after you have delivered the game to your players, but it will basically be the prolongation of the same activities that you will be doing while developing it.
By the definition, we can see, that there are iterative tasks that starts before the game is actually being developed, and that continues while the game is being bought by your potential players.
So that means that you can define your marketing plan in different elements that will help you define the different activities and control they effectiviness and results.
Stage – What is the current stage of development. As new features are added and the game becomes more sophisticated, you can tweak your content accordingly. Concept, Preproduction, Alpha, Beta, Release Candidate, Gold Master/Launch.
Audience/community – Define your audience, and what is the level of awareness of the game. Are they reading about the game, are they sharing material about the game, are they engaging with your studio to know, is there fan art, etc… Is your audience definition the right one, is it changing? Are you testing your game with focus groups to check the expectations of potential players?
Media/Influencers – Sometimes the two sections are merged into one, showing what you are planning with media and influencers. Do you have a big ad planned or a set date to start sending out keys? Maybe you are planning a series of sponsored posts or rounds of influencers. These all need to be listed here.
Platforms/Digital Stores – This is another community-related item, but it includes what you plan to publish on the various distribution platforms where you publish your game: are you working on a blog or a big community newsletter for Steam or another store? Be sure to track your progress here.
Promotional Activities – What festivals are conventions are you attending, what awards are you applying your game, what are the results.
As said previously, The content of the marketing plan is iterative and should be continuously revisited. However, think of it as a list of possible ingredients for success that you should make yours, and hot as a rigid recipe. It will probably contain items and procedures that are appropriate for your game and your game studio, and it may be quite different from other games or other game studios.
Is a plan 100% success guarantee?
A plan and its timeline is less about its structure than about what it prompts you to do, which will determine your ability to run a successful campaign. By writing down, in advance, your steps and the scope of your activities, you are training yourself to think ahead and imagine the path to your final goal.
If you use this method successfully, you can minimize risk and ensure that everyone on your team is on the same page.
By sharing the marketing timeline with with your team, you will ensure that all content is prepared and no one is left out of the loop, reducing delays and potential obstacles to the campaign being implemented. Finally, a proper timeline detailing your marketing plan is the minimum requirement to start reaching out to the press and influencers and other stakeholders in the communication process, which will allow you allow to estimate the required effort for the activities, and if it is something that you can do, or for which you will be needing external help hiring for example an indie game marketing company.
1. Understand the size of the game industry and the games ecosystem
The games ecosystem is vast and intricate, with developers, publishers, platforms, retailers, and consumers all having a role to play. Understanding the size and complexity of the games industry is critical for anyone looking to enter the market or invest in it.
Some of the games being released every year are so big and with so much resources that trying to get through the waves of their marketing is almost impossible. In the sameway, most of the games being released every year falls largely in the same know and successful genres, as First Person Shooters, Racing games, Third Person Action games, etc… Because they are associated with great results and because most of players wants to play them.
None the less, the number of players and their demography have been drastically changing over the recent years, which means that there are players for just about any genre of game, and probably some of them have a very low number of games available.
One tool that can help understand this reality is by using the SWOT (Strengths, Weaknesses, Opportunities and Threats) a strategic tool that allows you to analyze how you are ranking against your market.
SWOT analysis is used by all companies, including game development, to self-assess their current position as a company and to understand the likelihood of achieving certain goals. A SWOT chart is usually presented in the form of a matrix, which is able to hint on what the company is good at, what it is not good at, what it can capitalize on, and what it can fail at.
Let’s look at each block independently.
Strengths: As you can imagine, strengths include things that your people are simply good at. Whether it’s the unique style of your art department, the skills of your coders, the expertise of your QA team, or the great PR contacts that you’ve collected over the years, this part of the matrix contains everything you can use to achieve your goals. But there is more to it than that. In order to get a complete picture of the company, the strengths section should also include any unique resources at your disposal and any past events that the community might view as positive. So if you’ve already accomplished something as a studio, it’s a good idea to include it here.
Weaknesses: As the saying says, the weak points section should contain details of things that your game studio typically have problems with. For example, are you known for falling behind in certain parts of the development process like quality or innovation, or project management? Is your online presence almost non-existent? These are all very important points to consider before starting a new project. Along with your studio weaknesses, project-specific weaknesses should also be included in this category. For example, if you are trying to make the next successful RPG game, but your artists have never modeled 3D Characters before, you may want to highlight the problem and invest in solving it.
Opportunities: Far from the discomfort of understanding your limitations, the ‘Opportunities’ section covers any external environment that supports your efforts. There are an infinite number of opportunities that a game development studio can receive, at least if you know how to look for them, so we will not give any examples here. Before we continue, however, let’s remember that this and the next part of the SWOT matrix are dedicated to external influences. For internal influences, you can group them under the categories of ‘strengths’ and ‘weaknesses’.
Threats: Finally, as the last stage in the strategic process, threats are exactly the name hints at. competitors, dangerous situations posed by weaknesses, changes in trends – these are the variables you should keep in mind before moving on to the production stage. Threats, due to their unpredictable nature (or not), are usually the most difficult element to assess in a SWOT analysis. There is no magic formula for correctly assessing threats, but you should try to be as objective and honest as possible. And remember, it is better to be prepared for what will not happen than to be caught unprepared for what will happen.
2. Niche down and understand the players in it.
People will find you, it’s your responsibility. When you are just starting out in the game, you are like a sailboat in the middle of the ocean. Nobody knows you are there and nobody knows how to find you. They don’t even know that they should find you. Your responsibility, within the boundaries of marketing, is to make sure that people know you exist, which if you are proud of your game, being your evangelist should not feel disconfortul for you.
Start to think of new possible genre of games, or games that could be associated with other type of players interest, like for example, people that like to see grass grow, or people that like to play tomato throwing wars, or puzzles of siamese cats.
This will be a niche market. That you can use to try to leverage your efforts of making games for.
As defined in the wikipedia, A niche market is the subset of the market on which a specific product is focused. The market niche defines the product features aimed at satisfying specific market needs, as well as the price range, production quality and the demographics that it is intended to target. It is also a small market segment. Sometimes, a product or service can be entirely designed to satisfy a niche market.
The more narrow you will think of the interest of the player, the best possibilities you will have to find a type of games that some people are looking for, but no one is making games for it.
You can use tools like google trends, or google suggestion to try to find those possible niches.
Once you have found something, try to think on what are the interests of the people playing those games, what they are are like, what are their hobbies, where they usually look for information, what they would like to see in game that matches their interest, etc… This is important to match exactly the content that you will be making to fit their needs.
3. Make the game that players actually want to play, not the game that you want to make!
Once your have analyzed the niche and its people, start to think on the game game based on their interests not in the game that you want to do. If you don´t know how to do that, try to contact some of them and try to find out what they would like to see in a game that they could like.
As you progress through the development you may need to create focus groups to validate the ideas being developed as to make sure that they follow the overall concept fit for your niche.
One of the biggest hurdles with creative tasks, is that usually, it is very difficult to split what we like from what we need to do. And in games it is very dangerous, because the line that divides those two realities if very thin, and the production process usually long, which increase the chances of breaking.
4. Understand the game you are trying to make and for who
Once you have done your market research and made your game, you need to be clear about what kind of game you are making. I know many developers who think they know what they are making, but don’t know the market around the type of game they are making.
To be clear, you need to answer the following questions
What are the most popular and biggest games in your game genre?
What are the next three best-selling games in your game genre?
Which games in your genre have failed and why?
What is the unique feature of your game that makes it different from all the games listed above (we usually call this a hook)?
What is it about the genre that genre superfans would expect? To answer all this, you need to play all these games for research (see, you can play games for work!) You have to talk to the game developers who created the games in your genre. You need to talk to the real fans of the genre.
Knowing what your fans like, what they don’t like, and what makes your game stand out is very, very important when you start tweeting about your game.
5. Think about how you would describe your game
At this point, you’ve identified what the targeted digital stores users are looking for, what the competition is like, and what makes your game unique.
Next, you need to tell them what genre your game is in and how it differs from other games. This may seem obvious, but it can be very difficult. Many developers are so obsessed with their own games that they forget that other people don’t know what they know.
For example, we’ve seen developers who claim to be making a space fighting game, but all their screenshots, descriptions and tweets sound like an planet exploration simulator. You have to use the right words to make sure genre fans know it’s a game you’re making: if you’re making an FPS, you need to show an image with a big gun in the middle of the screen. If you’re making a visual novel, you need to show dialogue choices and cute characters.
Test your message on a stranger playing a game. Show them your marketing material and ask them, “What games do you remember? and ask them, “What games do you remember?
Are the games they mention similar to yours? If their answers are vague or incorrect, then there is a problem with the game description.
On Steam, you also need to tag your games. If you tag your game in the wrong genre, Steam will not be able to show your game to the right people. Even if your tagging is correct, if your screenshots and descriptions are not of the correct game type, potential fans will ignore you because your game doesn’t look like their preferred game type.
During Game Development
6. Make an epic trailer
Think about the last time you saw an eye-catching trailer and how excited you were about the official release of your product, movie or game. Your trailer is your best chance to make a first impression of your game, and it’s an asset you absolutely must make a success of.
It is the only asset that combines exciting music, beautiful visuals and animation, and a clear call to action. If you can create an epic trailer and highlight all of this in less than two minutes, you’ve succeeded in your first marketing task in sparking interest in your game and creating a buzz. Here is a checklist we recommend
Write and plan the story of your trailer before creating it.
Create the trailer first, using free and easy-to-use tools.
Emphasize gameplay and preview the main events of the game.
Don’t forget the audio!
Don’t rush the production of your trailer, take your time
Above all, create a trailer that you would like to see. An example we love: Forgotten Fields*, released in April 2021 and available on PC, Mac and Linux, is about an unsuccessful journey of the author back to his childhood home before being sold.
There are great things about this trailer: the interesting story, the appealing graphics, the soothing audio used, and the clear explanations of gameplay. From the trailer alone, it looks like a fun game to play after a hard day’s work.
7. Create a nice press marketing pack
Every indie game developer will have their own ideas about what to use for marketing and press assets. Keeping in mind that you don’t need to spend thousands of dollars marketing your videogame, there are two very important assets that you should prioritize: trailers and screenshots.
A nice screenshot will draw more attention to your social media posts. Take as many high-resolution screenshots as you can, and take more. You will probably only use five to ten photos, but if you have a good database of photos, you will be spoiled for choice.
Make sure that each of these photos tells a different story, but not the whole story. At each stage of the marketing process, you want to make sure that you capture the interest of your audience. The resolution of your photos should be such that they can be used in social media, magazines and online articles.
Last, but certainly not least, you will need a high-resolution copy of your game’s logo. This logo should be featured on all of your game’s channels, so make sure it reflects individuality.
Here’s what’s in the press kit to help Turnip Boy commit tax evasion*.
A dedicated Dropbox account to host your files
An ‘Art’ folder containing high-resolution images of all characters
A ‘Logo’ folder with high-resolution game logo files
Screenshots folder with high-resolution screenshots of the game’s highlights
A page with game details, including the release date, the developer, and a brief synopsis of the game.
In addition to having a great game title and website, the ‘Presskit’ call-to-action is at the top of the list. Clicking on the link will take you to a dedicated Dropbox with folders for logos, screenshots and art. To make it as easy as possible for the press to find these assets, and to avoid confusion and unnecessary questions, make sure you clearly label the folders and files.
Once you have all the resources you need to market your indie game, you can respond to requests from journalists, streamers and other key stakeholders who want to know more. One thing to remember is that your external messaging needs to be as consistent as your social channels. You don’t want to confuse people when your game has just become so popular.
Don´t forget to Optimise your landing page to be mobile-friendly.
8. Build your own dedicated social media channels
If you have a mobile device, there’s a good chance you’ve downloaded some social media apps. Social media is no longer just a niche, and in 2021 there is no escaping its power. In addition to placing social buttons on your landing pages, we recommend creating dedicated social media channels to provide a connected user experience.
Remember that each social platform has its own vibe and audience. As mentioned above, it is important to support Twitch and YouTube during the development phase. However, this is just the beginning. These channels also need to be used in the marketing phase. Here is some insider information about each social media channel.
Twitter: According to this social platform, there were over 2 billion tweets about games throughout 2020. This represents a 75% increase over the previous year, and a nearly 50% increase in the number of unique authors. This commitment is a step in the right direction, but Twitter is not the channel to use for marketing your game. It is a channel to capture/grab people’s attention.
Use Twitter to get the attention of publishers, streamers, journalists and other interested parties.
Once you have identified the people active in your indie gaming circles (for example, journalists who enjoy the same genre of games), make sure you nurture these relationships. It’s also important to take note of relevant hashtags and use them as often as possible.
Instagram This visual channel is a great way to get a “behind the scenes” look at how your indie game is run.
Instagram is also a great channel for sharing trailers, highlighting game updates and posting event appearances – just like Twitter, make sure you use relevant hashtags.
Hashtags are very important because they will amplify your reach over your actual number of followers and increase your chances of getting some attention by the people or companies you could be interested.
Some Hashtags important are : #screenshotsaturday, #wishlistwednesday , #pitchya, #madewithunity, #epicfriday, etc…
9. Build and continuously optimize you marketing funnel
If you’re on on a digital game store, you will have probably the concept of wishlist and you will need to get as many as possible before release – your game page needs to be up and running at least 6 months before your game is released. The reason why wishlists are so important air that they are essentially a reservoir of potential power. When a game is released, the store will notify to everyone who has signed up for your wishlist, telling them that “this game has been released”.
These messages usually converts at a very high rate, so the more they go, the more people will buy the game on the first day.
Very few people see a game and buy it right away. It’s like going on a blind date and getting married on the same day. That simply doesn’t happen. After buyers have heard about your game, you need to update them regularly on your progress so that they gradually fall in love with your game. And after they’ve heard it a few times, hopefully they’ll be excited enough to buy your game on day one.
This process of gradually getting people to like your game is called the marketing funnel. It is a strategic set of marketing channels that are put in place to guide someone to eventually buy your game.
A typical funnel might look something like this A fan sees your game posted on reddit, is interested in it, goes to your Steam page and adds it to their wish list. Then, a few weeks later, you post an update that you have created a discord, and they get a notification and join your discord. They will then be notified that you will host a beta on your Discord server. They sign up. And they play. And they like it. And when your game is released, they buy it on day one.
Note that this funnel is related to Social Platforms / Media / Influencers > Game on Digital Store Page > Wishlist > Buy.
To do this part, you need to be very clear so that no matter where someone discovers your game, they know what to do next.
if you’re posting on Twitter, Facebook or Reddit, you need to have a Landing Page built in the Digital Stores where your game will be made available.
Then, if it goes viral on Twitter, you can put a link saying “Wishlist my game on XXX Store”. And on the game store, we can put a link to a Discord or mailing list so that very interested people can join.
There’s nothing stopping you from improving your marketing resources – your game’s page, your Twitter account, your reddit posts, your website with its landing page.
If you’re new to marketing, you might look at a successful indie and think that everything they publish will quickly become well-known and constantly go viral.
The fact is that marketing consists of trying dozens of things and only one of them will actually produce results. It’s just that the dozens of failures are the ones you don’t see because they are the ones with zero visibility. Marketing is about trying and experimenting with different messages. We rarely know why one headline was better than another. We just need to think scientifically, formulate hypotheses, test them, and readjust our experiments based on what we learn. Most marketing campaigns fail. We just need to get back up and try, try, try, try.
We have to repeatedly remake our game’s page until the game reaches the end of its life. It’s normal. All great developers do it.
What do I need to know before I start?
Remember that other games developers are not your target market. Whatever game you are making, there are people (99%) who are passionate about that type of game. If you find that audience and market directly to them, you will be much more successful than if you advertise to everyone else. The mistake that many developers make is that they assume that other game developers are their target market. Sure, many developers play games. You may get envolved in cross-promotions but this will not happen casually you will have to look specifically and talk directly with other devs about this point.
10. Networking with platform holders and other developers
Most of your wish list and visibility will not come from you tweeting about your game alone. The most popular games are actually obtained through partnerships with large companies and popular websites.
For example, to get into E3 or any other popular event, you usually need to know someone behind the scenes. I’ve also seen games where the developer or publisher is first with the organizers and there was a last minute slot available, so they got a prime spot at the festival.
You need a wide network of people who can talk to you about opportunities and introduce you to people who can help you.
If you want to appear on platforms like Steam, Xbox, Playstation and Nintendo, then you need to get in touch with development partner teams on those platforms.
We can’t stress this enough. Most of your exposure will come from partnering with people who have a larger audience than you and having them embrace you to share your game. But before they can do that, they need to know that you are a good person.
In fact, the main reason most big publishers are successful is because they have a great history in the industry. They know everyone who works on every console and in every store. They know the editors and journalists at the big websites. They are friends with the agents of the popular streamers. They just have connections in the industry. Knowing someone on the inside” is the number one advantage a publisher can give you.
Here are some tips for networking
Join your local IGDA chapter’s development group or development tools community (e.g. Unity Developers).
Write a post on the Gamasutra blog about a problem you’ve solved (big names in the industry read it all the time and often reach out to you).
Introduce yourself to developers who have recently released or are currently working on a game in the same genre. They are not your competition. They will, in fact, help you make connections with people who have helped them.
Use LinkedIn to look up the content teams of major development companies.
11. Use festivals, press, streamers and social media to get your wish list.
In most cases, Steam’s algorithm doesn’t really provide visibility based on the number of wishlists. But don’t confuse this: it’s not really the wishlist that Steam is analyzing; what Steam cares about is the gross dollars it brings in over a short period of time. The more wish lists you have, the more people are likely to convert and the more money you will make. A wish list is a fuse. Sales are blasts, and Steam’s algorithm only cares about the size of your blast.
We can’t stress this enough. Most of your exposure will come from partnering with people who have a larger audience than you and having them embrace you to share your game. But before they can do that, they need to know that you are a good person.
In fact, the main reason most big publishers are successful is because they have a great history in the industry. They know everyone who works on every console and in every store. They know the editors and journalists at the big websites. They are friends with the agents of the popular streamers. They just have connections in the industry. Knowing someone on the inside” is the number one advantage a publisher can give you.
Here are some tips for networking
Join your local IGDA chapter’s development group or development tools community (e.g. Unity Developers).
Write a post on the Gamasutra blog about a problem you’ve solved (big names in the industry read it all the time and often reach out to you).
Introduce yourself to developers who have recently released or are currently working on a game in the same genre. They are not your competition. They will, in fact, help you make connections with people who have helped them.
Use LinkedIn to look up the content teams of major development companies.
Here are some additional resources to help you do this
I have an official HowToMarketAGame Discord channel where you can find programmers like you (please join).
Why indies don’t compete with each other
Platforms are also people
But how many wish lists do I need? It depends on the size of your game. At launch, wishlist conversions are about 10% to 20% in the first week. If you want to get on the better side of Steam’s algorithm, I wouldn’t launch a game without 10,000 wishlists, Steam will kind of bury games with less than that, since they won’t make enough money at launch.
How can I get a wishlist? The most effective ways are as follows
Attend festivals like Steam Next Fest, Pax Online, Wholesome Direct, and Gamescom. A full list of these festivals can be found here on Akupara Games.
Make a viral post on Reddit. It’s harder, but will attract thousands of wish lists. Here’s an example.
Get a streamer to cover it.
Get your article published on a website
Make a viral post on imgur
Tweet about your game (seriously, tweeting about your game is actually not very effective for getting wishlsits)
Marketing a game is actually a very cyclical process. Most of the advices in this list needs to be repeated many times throughout the game development process. The message of your game needs to be adjusted according to people’s reactions. The best track games, adjust, track and adjust. No one, not even marketers, gets it right the first time.
12. Launch the game
This is the moment when you actually make your game available for purchase. People can now pay for your game.
We are often asked what Steam Early Access is. It’s important to know.
Why is the launch so important?
It’s an excuse to get a lot of press. Streamers, press and even the media are more likely to respond and cover your release if you mention it.
Steam also gives you extra visibility during the launch.
So use it to your advantage.
Get in touch with all the people who covered it, liked it, reviewed it, added it to their wish list, or put it on their mailing list. Let them know your game is coming out and waiting.
13. Prepare for the next game
If your launch was mediocre and your updates and discounts didn’t have a significant impact on your bottom line, it’s time to move on to your next project. No matter how much interest you had in your first game, you start to reach an opportunity cost where your efforts on your current game take away from the potential of your next project.
If your first game doesn’t sell, don’t give up. To do well in this industry, you need to build a reputation and a backlog of games. Unfortunately, most developers leave the industry after releasing a game. You’ve come so far, you’ve learned so much, and your second, third and tenth games should be much easier. This GDC talk featured a slide called Put your Name On Your Game, which says that most studios close after just one release.
When you create a Steam page for your second (or third, or nth) game, cross-promote with everyone who liked, bought, wishlisted, reviewed, or commented on your first game.
Building a studio with a successful game is a lot like building a snowman. You start with a small pinch of snow and roll and roll, slowly at first, but later it becomes a big giant snowball.
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One of the main activities of humankind is telling stories, independently of races, or the period in time, is that We all tell stories. When we describe the day just passed to our partner over dinner, we’re telling a story. When at the pub with our friends we list the problems we’re having at work, we’re telling a story. In this article we are going to overview the meaning of Interactive Storytelling and Why and How We Tell Stories.
Every day, we are also passive listeners of other people’s stories.When we read a book, the author is telling us a story. When we watch a commercial on television, the advertisers are telling us a story. When we listen to a song, the singer is telling us a story.
Most of the time, however, we don’t realize we’re telling stories. We think we’re just relaying the facts, when in reality, we’re selecting the most relevant facts, arranging them so they make the most sense, and leaving out the ones that don’t fit our narrative. We’re also using language to paint a picture, using words like “seemed” or “felt” to signal to our listeners that we’re not being literal. We’re also using words like “maybe” or “probably” to signal uncertainty.
Why and How We Tell Stories Table of Contents
1. Intro to storytelling
If you think about it, we make up stories every day and listen to them. The whole world is a kind of cacophony, an endless spiral of stories, narratives and anecdotes that mix and move from person to person.
We are stories that tell other stories.
These stories are told and listened to because they need to be told.
This has always been the case.
Since the dawn of humanity, we have been telling stories.
Storytelling is an activity that humans have engaged in since before language and writing were invented.
The first thing to understand about storytelling is that it’s an activity. It has rules, patterns, and structures. Just like we have grammar rules that govern the way we speak, we have storytelling rules that govern the way we communicate through stories. And just like we have rules for grammar and spelling, we have rules for good storytelling.
But what is the purpose of storytelling when we tell them? And how can these things be applied to video game development?
2. What are stories?
This is an interesting and important question. What are stories?
Storytelling is a form of communication that uses narrative to influence a person’s emotions, attitudes, and behavior.
It uses a sequence of events (or plot) to convey a message.
There are many different types of stories, including narratives, anecdotes, and jokes.
In games the stories have been gradually grow in complexity as the systems evolved in performance and capacity, up to a point where complex stories can be told through the digital language of the computer.
3. Why do people tell stories?
Telling stories is one of the main ways we pass knowledge from one person to another. We use stories to describe our experiences to others, to entertain them, to arouse their emotions, to educate them, and to persuade them. Storytelling has many different meanings and purposes. Sometimes we tell stories to tell the truth, sometimes to dispel fears, and sometimes simply for fun.
Storytelling is a way to express our individuality and creativity, and to show an aspect of our thinking that we might not otherwise be able to express.
But telling a story and telling a fact are two very different things.
Telling or presenting a fact simply means revealing the relevant events. Journalists, for example, present the facts as they are, without personal details, opinions, or feelings. This allows the listener to form his or her own judgment.
You can add your own opinion (even indirectly, through facial expressions, tone of voice, or, if you’re Italian like me, gestures), highlight the parts that are important to you, and generally filter the facts through your own perspective and cultural background.
And instead of just listing events, we tailor our stories to convey the message we want our audience to hear. We don’t want our listeners to have their own opinions; we want them to be ours first and foremost.
We do this because we hope our narratives will allow us to elaborate a response.
They’re also one of the main ways we form social bonds. One of the reasons we like to spend time with other people is because they tell us stories.
We use words and language to paint a picture, to describe our experiences, and to signal to our listeners what we’re saying. We also use words and language to signal uncertainty, to draw a parallel between two things, to ask a question, and to provide background information. We use language to convey emotion, and we use language to convey complex meaning.
We are also using it to convey knowledge and experience that in other formats wouldn’t be possible due to the limitations. For example in business presentations and training, a lot of speakers are using storytelling and stories to resonate and engage with their audiences.
We want the people who listen to us to enjoy our stories and be moved by them. We want people to enjoy our stories, to be moved by them, to empathize with us, to be angry with us, to be comforted by us. Even if you are not the subject of your story, tell it to impress others, maybe even to share your feelings.
4. Some Examples of StoryTelling
Case 1: You are sitting in the waiting room of your doctor, and you are watching TV. A journalist tells you about the corruption of an important businessman and explains that many workers will lose their jobs as a result.
Reaction and relation: The information is presented in a neutral way, and you process it according to your own situation and decide how to react. If you are a worker, you will first feel sympathy and then anger. If you are a writer, you may become curious and want to write about the story. If you are a wealthy entrepreneur, you may wonder if you can just take over a fallen man’s business. However you respond, it’s up to you.
An example of a story Case 2: A few minutes later, a couple comes and sits next to you in the waiting room. They start talking and tell you how desperate they are because the husband is one of those unemployed workers with 3 high school Children and a mortgage to pay.
Projecting: now the information is presented to you from another person point of view. His story is full of anger and disappointment. You process it according to your own personal circumstances, but you are affected by the way they tell the story. Your reaction may be similar to the one described in the first example, or it may be different, influenced by this family experience and the struggles that may have.
The better the storyteller can tell the story, the more influence on the listener.
In other words, the purpose of telling a story is to convey a message and elicit a response from the listener.
In other words: We tell stories to get our message across, with the goal of eliciting a response from the audience.
5. How to tell a great story
Even though storytelling is something we do everyday, it’s far from being a science.
There are no “rules” to tell a great story. And there are no “right” ways to tell a story.Fortunately, the process of storytelling is relatively simple.
Great stories come from great experiences and more importantly, from commonalities between us all: our roles as humans and as part of the natural world we share this planet with.
Tools of the trade
We use tools to tell our stories, not just paper and pencils and microphones. As we’ll see in more detail in the next section, there are tools we use without even realizing it.
The tone of our voice when we speak, for example, is one of these tools. Emphasizing words, speeding up or slowing down the narrative are all tools we use to get the listener to respond in the way we want. As storytellers, we have the power to direct our interlocutors’ responses toward our desired goal.
As professional storytellers (since this article aims to provide tips on how to apply the concept of storytelling to a product like a video game), we have a duty to do so.
We can’t write a story without knowing where we want to take the player and what reaction we want to evoke. Otherwise, our stories would be very weak.
Otherwise, our stories will be very weak.
An interdisciplinary experience
The first set of tools is the interdisciplinary experience. As video game storytellers, we can use many things to tell our stories. For example, the background music, the lighting of a scene, or the color correction of the game camera.
But to use these tools, you have to know them. Below is some advice on how to get the most out of each of these tools. You are a game developer, not an artist or sound designer. However, it’s not possible not to know how each instrument works. If you ignore the basic rules of directing, you’ll end up writing cutscenes that have no rhythm or whose angles are not suitable to convey your message to the player.
Of course, if you have a large team, you’ll have people who specialize in their field, and they’ll determine the final result. However, if you know some of their areas of expertise, you can find common ground with them, engage constructively with them, and suggest their vision as the story author.
For example, if you want to express fear, anxiety, or discomfort in a game sequence, you can use certain background sounds or give the camera certain angles. But to do this, you need to know how setting the camera angle affects the player’s reaction. The camera, the music, the sound, the colors – all of these are part of storytelling and are tools to be used.
You can find in this article some of the best story driven games in the history of videogames.
10 The Last Of Us
9 Horizon Zero Dawn
8 Detroit: Become Human
7 Knights Of The Old Republic
6 God Of War
5 Persona 5 Royal
4 That Dragon, Cancer
3 Mass Effect: Legendary Edition
2 Red Dead Redemption 2
1 Dragon Age: Origins
So the more you know about them, the better they become.
The second tool is life experience. One of the first things I notice when I teach game design is that students think they might be good game designers because they play a lot. Of course, it’s important to play often and know the relevant markets. But if all you do is play, you tend to repeat what you’ve seen in others’ games, and that’s not a good way to be a storyteller.
Rather, engaging in something other than gaming will expand your knowledge and education.
One of the secrets of good storytelling is knowing who you are speaking to. Then, adjust the way you tell the story so that it reaches the target audience as well as possible.
For example, if you want to appeal to people who like opera, you first need to get them to attend ten performances at the opera house. But that’s not all. You need to go hiking, canoeing, or paint a picture.
Because you’ll learn new and different tools and ways to deal with them that will open up new storytelling possibilities. The more you know, the more you learn and try, the better you get at storytelling.
6 Creating a story
One of the most important differences between humans and animals is the ability to tell stories. Many animals are able to communicate with each other and convey information to each other, such as where they can find food or where there is danger.
But just like us, animals can tell each other stories. While they sleep, they can tell each other stories through dreams. Recently, I’ve been watching my cat. When she sleeps, she often makes the same sounds and mouth movements as when she catches insects in the house. As I was looking into this, I found an article that said cats dream about things that haven’t even happened yet.
However, the main difference between our dreams and theirs is that animals don’t have imaginations to make them up. Their dreams are based on real facts, even if they never happened. Instead, we can dream about things that not only never happened, but could never happen (raise your hand if you’ve never dreamed of having psychic powers!) ), we are free to dream and make up stories based on them.
Imagination is the third tool to tell a story. We have been exercising this one from tender ages, but with the growing into adults, we usually forgot that we can be imaginative, even if we think we are boring.
7. Collaboration and cooperation
Another big difference between us and animals is that we can cooperate with each other based on the ideas of others.
For example, one ant may say to another, “There is food in this direction. But the third ant, observing the conversation, cannot add, “There is water further in.” The third ant must start a new conversation from scratch to get its message across. This may seem like a small limitation, but it is the reason why mankind has been able to make so many advances in science. It is because when we study something, we start from what others have studied, demonstrated and taught us, such as through books. We don’t have to start from scratch, but can focus on the next step.
This is a collaborative way of telling a story, and the fourth tool, “collaboration,” is a way of “interaction.”
The fourth tool, “collaboration,” is a type of “interaction,” and we can define interaction as The fourth tool, collaboration, is a type of “interaction,” and can be defined as “the mutual exchange of information between two parties through a medium.”
8. Storytelling in video games
With this long preface in mind, we can finally get to the heart of the topic. We have clarified what storytelling is, what the purpose of storytelling is, what tools should be used, and we have also given a definition of the word interactive. This is really important because with the emergence of video games, a form of storytelling that was once considered “experimental” has become one of the most popular and relevant forms of modern storytelling: interactive storytelling.
This is why storytelling in video games is so important.
In fact, video games can make storytelling a unique and in many ways new experience because they can organize messages and evoke very complex and powerful responses.
When we tell a story, we’re using the tools of storytelling.
9. The Storyteller’s Tools
The storyteller’s tools play a critical role in the creation of interactive stories.
By understanding how the tools work and how they can be used, you will gain insights into how to craft the most engaging and satisfying experiences in your games.It’s not that storytelling is a science — it is a craft with many different elements, including many different skills.
But it is important to understand that, like any craft, there are certain aspects of storytelling that are more important than others.For example, while telling a story mode is crucial for creating an engaging experience, telling a story on an iPad may be less so than telling one on an Android phone due to the smaller screen size and lack of ergonomics . T
here are other factors as well: What kind of game are you making? How much time do you have? What’s the goal? How will you accomplish it?
10. Narrative Design and structure
The most common narrative structure is called linear: it’s a series of events that gradually develops into a satisfying conclusion. It’s the narrative structure that most marketers are used to.
However, what might come as an unexpected surprise when it comes to storytelling are the “non-linear” structures.These structures have the potential of turning some very common marketing messages and communication tools into something more than just a series of events and activities.
They can be used to create something more than just a series of events and activities. In other words, they can be used to tell stories.How?
This question has been answered by game designers, who have developed various kinds of interactive stories with various kinds of narratives:The story is not only about the main protagonists, but their interactions with other characters and their actions towards others in the game world.
The story is also about the overall theme and setting in which these protagonists are operating within. The most important thing for a player is that he/she has fun when playing a particular game or movie – so this “story” (in this case) should make him/her feel like he/she is “part” of something larger than himself or herself (or herself as part of something bigger).
A good story allows players to experience more than one viewpoint while playing: they interact with characters from different generations, different stories, different situations that change depending on how they react to them.
When it comes to game development, and thinking in Stories, lore, quests, character dialogue – narrative is the most important element. It gives life and history to even the smallest things and evokes emotions that we wouldn’t normally perceive.
So what exactly is a narrative? And how can a narrator breathe life into an empty world?
Narrative and its importance in games
In film, the audience can sit back and visually follow a particular plot, but the experience is almost always the same. The same is true for books, and although repeated reading of the same book can lead to new and richer concepts, the structure of the story is always the same.
In video games, however, the player interacts with the story on an entirely different level. The player becomes the story. The player’s actions and choices shape the way the story is told, and no one’s first experience during gameplay is the same.
Why and How We Tell Stories
What is a narrative design?
According to NarrativeDesign.org, compiled by Stephen Dinehart, a pioneer in narrative design, the role of the narrative designer in the game development process is to “create compelling story elements that support the narrative and define a system to deliver them to the player.
They are essentially the authors of the video game. They may contribute creatively to the design process of the game, but in reality their primary role is to move the narrative from one scene to the next. For example, if a designer wants to change from a desert planet to an arctic landscape, they will ask the narrator to come up with a rational and creative reason for doing so.
It is important for the narrator to understand and visualize the tone of the game. Based on the main plot, write connections between objects and scenes, such as why this stone is in this place. These connections, no matter how small, can make or break a game.
I’m sure that you’re thinking, “Wait, I can do this! I’m a creative person. I know how to write stories. I just need to get my hands on a good story!”The problem is that for most of the world, telling stories is not the easiest thing in the world because of the requirements of being very structured as to engage correctly with the people that are “consumming” the story.
We will be expanding this article over time, don’t´forget to check it back from time to time. For more interesting articles don’t forget to check our blog.
The Lemmings have been sacrificing for you for 30 years now and to celebrate it a new documentary, Lemmings Can You Dig It? has been released, that gives a very nice view on one of the best puzzle videogames in the history of the industry.
Lemmings is a video game originally developed for the Commodore Amiga, designed by DMA Design (now Rockstar North) and released by Psygnosis in 1991, with versions for different computers and game consoles. At the time of its release, it was one of the most successful games of all time, receiving top scores from professional magazines.
The characters in the game were created based on the popular myth that lemmings commit mass suicide in dangerous situations. The objective of the game is to save a certain number of lemmings in each level. To achieve this, eight different skills are distributed exclusively to each lemming to reach the end of each stage.
Lemmings, one of the most popular video games as well as one of the most different and addictive proposals. It will soon be 30 years old and a documentary will be released that will delight every fan, but do you know the history of Lemmings? If not, stay tuned because there are details that you will surely like to know.
The origin of the Lemmings
History has shown us on more than one occasion that some of the best video games have come out of somewhat strange moments, of coincidences that serve as inspiration to create something that then remembered them for a lifetime.
One such example is Pac-Man. Its creator, Toru Iwatani, was looking to create a video game that would appeal to women in the same way that others with war themes and where you had to kill alien invaders, etc., had succeeded with men. The problem is that it needs a mechanic that appeals to them and it wasn’t anything to do with killing or destroying.
So, while he was eating pizza one day, he clearly saw the figure of the popular Pac-Man when he removed one of the slices. An outing to eat pizza with his companions and a slice that discovered that giant mouth was the detonator of an iconic video game.
Well, Lemmings came about in a somewhat similar way. It was in 1989 that the first animation was created, and it was in the most curious way. In the offices of DMA Design was Mike Dailly along with the rest of those who were then his colleagues. One of them, Scott Johnson, a freelance artist, was drawing little men who were to be used by the main character of Walker (a video game for Amiga) to shoot them.
Johnson’s work resulted in a figure rendered in 16 x 16 pixels. It was at that moment, after seeing it, that Mike Dailly told him that they could be made even smaller, in only 8 x 8 pixels. Something that would give them an advantage because at that time resources were more limited than they are today.
So Dailly got to work and in about an hour he had that first little guy ready. So after he had it ready, he animated them and put them on a screen next to a weight that crushed them. The result? An unexpected reaction from his classmates: laughter.
Seeing those little characters being crushed seemed to make them laugh and they began to add other deadly elements. In the end, everyone saw that what had come out of the blue could have a future as an independent idea in a video game.
The rest of the team began to add other elements such as a mouth that devoured them, a kind of spinning propeller that launched them at full speed, and so on. Everyone was having a blast with it and Russell Kay said there was a game in there and coined the term Lemmings.
The first demo arrived
After a series of events that allowed them to get to work on their next video game, Lemmings, the first demo version was shown to Psygnosis in September 1989. They liked what they saw and it didn’t take much more to decide to bet on it and commercialize the game.
A title that from the moment it appeared on the market did not cease to attract attention. So that first PC release was not the last to be seen over the years. Throughout history there have been versions for all consoles and even mobile devices.
What’s more, just as more complex and demanding games can be played today from a browser, Lemmings can also be enjoyed with just an internet connection and a web browser. So, without being responsible for how you are going to manage your time from now on, to play Lemmings from the browser just click on this link.
Why the green hairs and other curiosities
In this creation story there are details that over time become iconic and in the Lemmings game one of them is the hair color of each of these mini characters.
The Lemmings have green hair, but it was not a premeditated decision nor did it pursue any kind of consensual intention. To tell the truth, the hair color was due to a problem of graphic limitation. At that time the PC EGA color palette that could be used by the graphics cards was very limited. So between the idea of using blue or green hair, the second option seemed to make the character look much better on screen. And it’s normal, green is the color that our eyes distinguish more easily.
However, this is not the only curious detail. Another interesting problem they solved was the dilemma of how to control up to 100 lemmings that could be on screen. The solution was simple, no control over them at all.
What they did was to place a series of elements on the stage itself or give the user the possibility to create them to control the constant flow of walking lemmings. Because these do not stop, they only change direction when they collide with any of the existing details.
Along with this, the game’s level editor, an important element for many, was based on DPaint or Deluxe Paint, a sort of Photoshops of the time for Amiga computers. It served its purpose, so they kept it for a long time as a tool for creating new levels.
Lemmings on your mobile
Among all the platforms on which you can enjoy Lemmings, it is logical that doing so on mobile devices is the preferred option for many users today. For the usual reasons, it is the device that we always carry in our pocket and being able to play a game wherever we are does not seem like a bad idea if we get bored.
The latest game released is Lemmings Puzzle Aventure and although it is free, you should also know that there are in-app purchases as in many other mobile games. But they are not a big problem, so you can enjoy the game, its mechanics and save or not, that’s up to you, these little characters.
Lemmings – Puzzle Adventure Download Developer: SAD PUPPY
30 years of Lemmings The documentary
The true story of Lemmings – from the computer rooms in Dundee to the world-changing UK games scene that exists today; through the voices of those who were there at the time and those who grew up playing it.
The first installment of Lemmings was released in 1991 and managed to sell more than 55,000 copies on the first day for the Amiga version. At the end of the same year, around 15 million copies were counted among all the formats that were available. These were impressive figures for the time.
Over the years the title became more and more important, until it became one of the best in history and currently one of the most recognizable by any fan of video games. That’s why they always arouse some interest, even more so now that they are 30 years old and it is known that there will be a new documentary that will delve deeper into its origin and other data that are sure to be very curious to know.
Lemmings: Can You Dig It Documentary Credits
Adrian Powell (original Lemmings cover artist),
Alyson Conway (sculpture artist),
Brian ‘Biscuit’ Watson, (ex-DMA),
Chris Scullion (journalist),
Chris van der Kuyl (developer & Kingsway Club alumni),
Eli Mouawad (streamer),
Enrique Hervas (Lead Designer at Exient),
Gary Penn (ex-DMA & journalist),
Gary Timmons (ex-DMA),
Gary Whitta (screen writer & journalist),
Ian Hetherington (ex-Psygnosis),
Jake Montanarini (Norwich University),
James Roadley-Battin (Art Director at Exient),
Kish Hirani (BAME In Games, ex-PlayStation),
Larry Bundy Jr (TV presenter, YouTuber),
Mike Dailly (ex-DMA),
Nia Wearn (Deep Silver),
Nick Gorse (Coventry University),
Paul Farley (ex-DMA),
Peter Molyneux (games industry legend),
Robin Gray (Gayming Magazine),
Russell Kay (ex-DMA),
Ryan Locke (Abertay University),
Silvio Micalef (Lead Artist at Exient),
Steve Hammond (ex-DMA),
Tim Wright (ex-DMA),
Trista Bytes (superfan, YouTuber)
The backstory for Lemmings
It all started as a bet on whether you could create a “walking doll” in 16×16 pixels or 8×8 pixels.
Using an Amiga computer, and in less than an hour, Mike Dailly created the first 8×8 lemming as a demonstration that it could be done.
The doll would later be improved by Gary Timmons, he added a background and some obstacles and that’s when someone said Hey, here’s a possible game!
The first demo of Lemmings ran on a PC, not an Amiga. It was shown to Psygnosis in September 1989 and then it was decided to market it as a game. The colors were based on the PC EGA palette of the time, which is why the lemmings have green hair (the other option was blue), and the level editor was based on Deluxe Paint, which was something like Photoshop for Amiga at the time.
The Complete History of Lemmings reviews the history of the popular game from its creators, including images of the various phases of its creation and many anecdotes. The first idea came up in 1989 and among all the curiosities of the game and its development, it is included that…
Lemmings: Can You Dig It? The documentary
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A logo is one of the important things in branding a part from having a great name, is to have a good logo that communicates a lot about the product or service you offer. Many companies spend millions to find a logo that will be remembered. And it is not surprising, because if a logo is done well, it can be really memorable and can really be the face of the company. We have picked 50 of the world’s best and most memorable logos. In this article we will give some insights on How to create a logo for your game, and especially the logo design process for games.
In the previous post, we have approached how to find a good name for your game, and it is side companion post for this content, so We recommend to read it too, for more in depth analysis of the name aspect of the game.
Table of Contents How to create a logo for your game
1. how logo design helps your business/brand
Logo design is an important aspect of any business or brand. It can help to create a recognizable image for your company or product, and can help to attract new customers. A well-designed logo can also help to promote your company or product online.
2. What is a logo?
3. What is an effective logo?
Logos play a very important role in the marketing and branding of a company or product. They can be simple or complex, but they all have one common goal: to help people identify and remember the company or product.
There are many factors to consider when designing a logo for your game. The most important thing is to make sure it is effective and memorable. Here are a few tips to help you create an effective logo for your game:
1. Keep it simple
Your logo shouldn’t be too complex or detailed. It should be easy to remember and use on promotional materials, website graphics, and game packaging.
2. Use a consistent style
Your logo should have a consistent style across all marketing channels that your company operates.
4. What are the things that must be taken into consideration when coming up with a logo?
When creating a logo for your game, there are a few things that must be taken into consideration. The first is the overall look and feel of the game. Second is the target audience. Third is the genre of the game. Finally, the logo must be legible and easy to create on a variety of media.
5. things to consider when choosing a logo
There are a few things to consider when choosing a logo for your game. The first is the type of game you are making. Are you making a casual game with simple graphics, or are you making a more complex game with high-quality graphics? If you are making a more complex game, you may want to consider using a more stylized logo. Another thing to consider is the target audience of your game. Are you making a game for children, or are you making a game for adults? If you are making a game for adults, you may want to consider using an image that is more sophisticated or professional. Finally, you should consider the budget you have. If you have a limited budget, you may want to consider using an
6. some tips on creating a logo
Creating a logo for your game can be a daunting task, but with a little bit of creativity and some helpful tips, it can be done easily. First, it is important to think about what your game is about and what type of feel you want it to have. Once you have a good idea of what you are looking for, you can start designing your logo.
One important thing to keep in mind when creating your logo is to make it simple. Too many details can distract from the overall look of your logo, so keep it simple and easy to understand. Additionally, make sure to use a consistent font throughout your logo so that it looks cohesive. And lastly, don’t be afraid to experiment with different
7. AI design vs Traditional Logo Design
There is a lot of debate between traditional logo design and AI design when it comes to creating a logo for a game. Traditionally, logos are designed to be easily recognizable and memorable. They are designed to communicate a brand’s message to the public. AI design, on the other hand, is more about creating a unique and visually appealing design. Some argue that traditional logos are better suited for games that are intended for a broader audience, while AI designs are better suited for games that require a more personal connection with the player. Ultimately, it comes down to the preferences of the designer and the target audience of the game.
8. A List of 5 Reasons why an AI-Powered Logo Generator is Better Than the Traditional Ones
Logos are one of the most important pieces of branding for any game, and they play a big role in helping people identify a game. A logo can be the first thing someone sees when they browse through a game’s store page or launch screen, and it can help set the tone and atmosphere of the game.
Traditional logo creation methods can be time-consuming and require a lot of skill. They can also be expensive, and many developers don’t have the time or money to invest in them. This is where an AI-powered logo generator comes in.
These tools are easy to use and don’t require any special skills or knowledge. You simply input the name of your game, the type of logo you’re looking
1. Logo generators are more versatile than traditional logo design tools. They can be used to create logos for games, apps, websites, and more.
2. They’re easy to use and can be customized to your needs.
3. They’re cost-effective and can help you create a logo that’s unique and eye-catching.
4. They can help you create a logo that reflects the tone and style of your game or app.
5. They can help you create a logo that’s appropriate for your target audience.
9. The Importance of Color to Design a Logo
Color is one of the most important aspects of logo design. It can set the tone for a company or product, and can help people to remember a logo. A good logo should be easy to see and remember, and it should use colors that are easy to associate with the company or product.
10.How many logo designs should I have?
Logos are important for game developers. They help players identify your game, and can also be used for marketing purposes. It’s important to have a variety of logo designs, so that you can find the perfect one for your game. Some tips for creating logos for games include:
1. Use a simple design. Your logo should be simple and easy to remember.
2. Use a distinctive color. Make sure your logo features a distinct color that will stand out.
3. Use typography to enhance your logo. Use typeface that is appropriate for your game, and make sure it is legible.
4. Use a logo template. There are many free logo templates available online, or you can
11. How will I know if my logo is effective?
Logos play an important role in branding and marketing your game. A well-designed logo can help to create a memorable and effective game brand. However, there is no one definitive way to measure the effectiveness of a logo. Some key factors to consider include how well the logo conveys the game’s unique selling proposition, whether it is visually appealing and easy to remember, and whether it can be used on different mediums (such as websites, social media, and promotional materials).
12. Some Resources for logo design
Below you will find a list of some good online logo designer software.
A logo is the face of your brand. It is what people see first and often when they think of your company or product. A well-crafted logo can help your business stand out and be more easily remembered. When designing your logo, keep in mind the following tips:
-Be simple and easy to understand. Your logo should be able to be reproduced in a variety of formats, including on T-shirts, mugs, and stickers.
-Make sure your logo is legible in all types of lighting.
-Choose a font that is modern and contemporary, but still easy to read.
-Make sure your logo is consistent across all media platforms.
The game industry is highly competitive, and being ahead of the curve and creating trends can determine the fate of a company. Therefore, to make a new game successful it is important to give it a unique name. In this article we will give some tips on Finding the right name for your game.
For this reason, deciding on a name is one of the most important things a developer thinks about while creating a game, and deciding on a name is one of the first things you want to get right. The name allows people to associate your game with you and remember it later when they see or discuss your game.
It’s a good idea to consider these various factors when deciding on a title for your game. Some of the aspects of a game title include its uniqueness, meaning, catchiness, and how it translates.
This guide is intended for game developers who are looking for a name for their new game. Choosing the right name is an essential part of developing a game and running a successful business, as well as some considerations to take into account when coming up with a choice. We will also give you some examples of successful games names from the past, so you will have a good idea of where to start looking.
Finding the right name for your game
…To make your name unique
Before deciding on a name for your game, it is important to make sure that the name you choose is not already in use in the real world. You can find out if the name you want is already in use by searching the Internet, playing games, or simply checking social networking sites like Facebook and Twitter, but you may be surprised.
If you do come up with another name, choose one that does not have more negative connotations than the positive connotations of the current name. When it comes to searchability, the new name may be better than the original one.
Think also in terms of Internet domains and that you will probably need to register a domain name to point to your web page. So, look into a domain name registration service like mydomain or godaddy what top level domains are free for you to use.
… But not too unique.
Choosing and using a unique name that is easy to remember is valid. However, using special characters can make it difficult to find or type in search engines. Also, some people may not find it helpful to pronounce your name.
When deciding on a name for your game, you need to make sure that the name is easy to pronounce and remember.
… Name Translation and Localization
Before deciding whether the name of the game is correct or not, proper and detailed research needs to be done on how it will be translated and localized in different languages.
While spelling of words and proper terminology were sometimes difficult to deal with, one of the biggest problems was the language difference. As a result, we had some trouble with Google Maps. If we hadn’t had problems with the game name and proper terminology, we would have had much more serious localization problems.
Similarly, when localizing, it is important to pay attention to what the translated names mean. For example, you may want to call a faction “INVENTED NAME” (an example). It is important to make sure that there are no undesirable translations in case someone uses that name in a translator or forum, and that could even resulting offensive in the country.
There are a lot of examples about bad naming examples in different sectors of activity as this isn’t a problem specific to the videogames industry.
Although not specifically related, but with some similarities, beware when associating a name to a logo, as the graphics can have similar problems than words, and some times some types of images, could have different meanings in different cultures.
… Why you need to use subtitles
Game subtitles can be used to make a game stand out more in the eyes of gamers.
Take a look at Call of Duty example,and how they use the subtitle to understand how the player can move forward in the game. The name used usually implies where the game is set, or what kind of situations he will be facing.
The subtitle of a game may tempt the player to look it up.
When writing the title of your game, think about what kind of words you want your game to appear on the top page of your favorite search engine, such as Google or Amazon.com. Subtitles can enhance searchability because they provide more detailed information about your game.
… Registering the chosen name
Once you have chosen a name for your game, it is important to claim the rights to it immediately. If someone else tries to take over the name later on, it could cause problems. It is a good idea to claim your domain name, Facebook page, Twitter account, etc. as soon as it becomes feasible.
It is best to choose a website/page name that will help potential players find your website. If you are marketing your own game or service, it is especially important to include important details.
If your game is a mod or indie game, you can also make a profile on two different websites. On the first site, you can show your game to as many players as possible; on the second site, you can create a profile page that other players can see. Both will help you establish your game.
If you want to be able to reach a larger audience to display your game on popular websites, IndieDB, itch.io are two good solutions that you can use.
You can also wordpress.com to create mini website with a partially defined name as a subdomain of wordpress.com.
Until you have a name for your game and no one else with the same name has already claimed it, you are under no legal obligation to bother claiming your name. However, even if you are lucky enough to have your unique game name chosen from among quite a few options, don’t expect your game to be released when it is actually published. If you have an existing web page and don’t want to publish it until your game is ready, create a unique URL name and separate it with a dash like “name-composed” (http://name-composed.xxx).
… Actually thinking of a name
The previous paragraphs were focused in putting some guidelines on to think about the name your game, and how to make it visible to your potential audience, but what about actually coming up with a name? It’s good to remember that if you have a catchy name, people will immediately know what the game is about.
However, when it comes to actually deciding on a name, there are a few tips that can help.
Think about what your game is about. Does it have a story with a unique theme? Can you integrate it into the name or subtitle of your game? For example, “Dark Souls” features “Dark” as an important ongoing theme throughout the game.
Is your story or game still not fully fleshed out? Try using a random name generator such as Word Mixer, or behindthename. This generator will help you come up with a distinctive name.
Is it possible to use a generic name based on the main theme of the game and then use a unique subtitle to support it? For example, Pocket alone could refer to a number of different games, such as Pocket Racer, which could be related to casual mobile games.
These are all ways to help you come up with a name for your game, but it doesn’t hurt to take a little time before deciding on a final name for your game.
Deciding on a name for your game is an important task for you. Make sure you come up with the right thing, because it will not only help your game for a long future, but it can also save you a lot of headaches later on. You want people to be a part of this new game and to play it, so your game needs to be catchy. Use words that the audience will agree with as this will help you keep a good first impression.
In this 2016 GDC session, game designer and educator Ian Schreiber presents a summary of his college-level course in game balance, examining the major topics covered in the syllabus and a set of assignments that can be used to further build balance skills by putting the theory into practice.
All right so I would like to start off with a question how many of you, your school, has at least one course offering in game design, okay, pretty much everyone, or at least a lot of you. Now. Let’s talk about specialized topics within game design.
How many of you have an offering in serious games or persuasive games or games with the purpose or something fair number of you? How many of you have something related to game? Writing, like narrative world-building, fair number of you how many of you have an offering in game balance so lot smaller. So in some of you are like a sort of like an actual class dedicated to that now. I’ll just point out: I mean every game project.
Not every game.
Project is a serious game, but we have a lot of those. Not every game needs a serious amount of game writing you know, but we have a lot of those pretty much. Every game needs to be balanced in some form arouser at some point, and we don’t have a lot of those, so maybe at least for those of us with game design programs that go beyond 101, maybe we should all think about doing this.
That’s what this is about so case study in how I teach it so this was my first iteration on a full 10-week game balance course back in 2010, it’s still up there online.
It’s released under creative commons license. Anyone who wants to mind it for anything useful can feel free to do that without having to ask permission. This is from the first page of the syllabus of my most recent iteration on the course I think.
All courses where the topics build on each other should probably have a tech tree in it, so students can see all the things that they learn and how they level and I also think every games rigging, game degree curriculum with prerequisites or tracks, or course sequences should probably be laid out like this I, don’t know if anyone’s doing it like that, but you might want to think about it.
So I’ll just put that over there on the left side in one piece and let’s unpack this a bit and walk through kind of what I put in this course, so we start off with some critical vocabulary. Just laying out basic definitions like what do I mean when I say game balance.
How is that different from pacing or tuning reminding everyone what a system is and what positive and negative feedback loops are? What we mean when we say that a game is deterministic or solvable, especially since that starts getting weird when we get into solving games of chance and rule symmetry and asymmetry. This is where we set the boundaries of the course for or what exactly the scope is.
When we talk about balance and by the way, I just love- that a word cloud is the first thing that comes up when I google the word vocabulary, it’s just so meta.
So how I define game balance for this class is creating game balance is creating the appearance of fairness in a game, and appearance is really important here. It’s about player perception as much as reality, because as game designers, we are crafting an experience, and it’s that experience that matters so balance is part, math part systems and part psychology.
We do this for several methods, one is designer intuition or experience the game designer chooses to make certain things a certain way, because it feels right to them.
Another is playtesting, you create a rapid prototype play on your own or with friends, observe and make changes based on any rules exploits or weaknesses that you find play. Testing is another thing that everyone has to do and there’s few very few courses offered in that’s a different presentation in the summit.
A third method is analytics, taking actual data from games and using statistical analysis to draw conclusions about how it’s actually played.
A fourth method is mathematical, modeling, using math to understand the relationships between all the numbers in the game in order to choose the most appropriate ones most of the focus in this course is on learning mathematical tools to do this modeling and also building spreadsheet proficiency.
So students can use these to solve problems in present solutions. We also spend a lot of time. Well, we spent some time on analytics because that’s widely used, it’s very useful now I want them to encounter that as for building their own intuition and building their own clay testing skills: we do that through practical exercises, where they analyze the balance of an existing game or do balance on a game of their own.
It is Also needed to point out to students that on the very first day that math is a skill it can be learned like any other and the whole concept of a person being good at math or bad at math is just an american cultural myth.
There’s been a ton of research showing that so therefore, this will not be a valid excuse in this class to say: oh I’m bad at math. Therefore I suck at this. Every student can get this if they apply themselves and so far that has turned out to be the case problem so once everyone’s clear on the scope of the class and everyone’s been given the chance to drop.
If this isn’t what they thought it was, then we start off looking at numeric relationships, because just saying I have 5 hit points left is meaningless. Unless you know there are other things, do zero damage, or occasionally one or if things are doing one to five damage or things are doing a thousand damage, it’s all about how numbers in the game relate to each other, so we examine linear and identity relationships, triangular and polynomial relationships and exponential and logarithmic relationships, and also change up relationships like how if a player is getting stronger in an rpg through polynomial growth and monsters are also scaling polynomially than the relationship with the monster path between the player power and the monster power will be linear, not polynomial. Things like that. We also examine resource flow diagrams, like your storm ends, wonderful machinations tool, just because it’s a great way to visually show, relationships between numbers and I also have the class play cookie, clicker and mechanically. It’s just a very pure implementation of the relationship between numbers. You have cookies that are increasing at a rate of cookies per second, and then you use your cookies to increase your cookies per second, but at less efficient rates of exchange over time. That’s pretty much. All the engine of the game is it’s also important. Historically, as the game that really popularized the idol game genre- and this is controversial among my students- they generally hate me for introducing them to this game, if they haven’t played it before, because once it’s totally addicting and yet it’s really stupid and you’re fully aware of how stupid it is that you’re clicking on cookies and that’s all you’re doing just to increment it counter and it’s stupid.
But you get addicted to it and continue to do it anyway. So really it’s a game about self-loathing and which is one of the prerequisites to being a game designer, which is why I keep it in here from there. We look at a special case of numeric relationships, which is resource systems and economic systems, because those come up a lot in games. We cover the bits of an economics 101 course that are directly relevant to games. Things like how supply and demand would affect prices in an mmo auction house how inflation affects those prices and different straddle strategies for handling inflation in a game, economy and interplay. Our trading and the differences in how that works between closed and open game economies, and also various auction and interplay or trading systems, which are a lot more common in euro games than in video games and I. Encourage them to play euro games that have strong trading or auction mechanics here like settlers of catan or modern art. After that, we have enough tools to get into our first reel in the frenches game balance project where we talk about games where better stuff cost more.
I giggle ii refer to this as transitive relationships between the various game elements and one of the purest examples and the one that I examine a lot. Just because of my personal experience in the industry is tcg’s like magic, the gathering or hearthstone. You have a cost to put a card into play and then the card has an effect and more expensive cards are more powerful and what you’re doing is putting all of the cost limitations and drawbacks, and also the powers, abilities and benefits in terms of numbers scale. So that the card is balanced if the value of its cost equals the value of its benefits- and you can put this into a spreadsheet where each mechanic has its own column each row has each row is its own card and there’s one column that just contains some math function that incorporates all the other columns and spits out a number that tells you if the card is balanced or not, and if not, how far off it is in which direction very powerful technique. I actually just talked about this in the map for programmers tutorial an hour and a half ago.
If you want to look that up on the vault later, so one of the projects here is for students to take an existing game with transitive, mechanics and analyze it to find the game objects like the cards or whatever that are the most powerful, the weakest and the most balanced and then compare that in their math with the generally accepted wisdom of the games community.
So at this point now, we’ve taken things as far as we can balancing games based on skill, but we haven’t done anything involving mechanics of chance. Yet so now we dive into basic probability specifically how to calculate independent probabilities like die rolls where each roll doesn’t affect the odds of future rolls and dependent probabilities like drawing a card from a deck where each card draw does affect the probability of future card draws.
If you know what was removed so this is basically taking a probability 101 class extracting the parts that we use in games and ignoring the rest, although I do make sure they encounter things like the monty hall problem. Just so, they understand that probability isn’t always intuitive I also go over ways to do. Sanity checks like probabilities are always between 0 & 1, adding up all the non-overlapping non-overlapping outcomes should always get you one exactly because probability is very easy to screw up.
If you don’t know what you’re doing and you’re, not careful but most of the time, if something goes wrong, it goes wrong enough to fail a sanity check, so it kind of has its built-in debugger, which is nice. This stuff actually doesn’t take that long to cover just a week or so, but I throw another week up playing some dice and card games in class and analyzing them like the strategy between behind bluff and liars dice or which side has the natural advantage in one night ultimate werewolf or any other relevant games that I’ve acquired recently.
Now at this point, my students know how to calculate exactly how fast they’ll go broke in vegas and then I deliver some bad news, which is probability, doesn’t actually solve everything for two reasons. The first is that humans socket probability. We generally find it unintuitive. Even if you do your odds calculations correctly as the game designer a lot of times, they will feel wrong to players. The great sid meier even talked about some of his experiences with this at a keynote here in gdc back in 2010. So you also have to learn about not just how to calculate odds and probabilities, but also cognitive biases, to explain why people get intuitive probability wrong and when they do, and we talk about game design strategies to compensate for your players being buggy. And this is also a great time to revisit games like liars, dice and poker to learn the difference between just doing the math and actually using psychological mechanics like bluffing and interestingly. Another thing
that we mentioned here for the first time is ethics, because whether we should be honest with our you know, should we be honest with our players and do the probabilities of the way they we say we’re going to or should we you know fudge our die roles to conform to and reinforce our players flawed understandings of probability.
Basically, is it okay to lie to our players or not that’s something worth thinking about, and I mentioned this here, because we normally don’t see matters of professional ethics emerging as a key topic in a math class. Second thing that goes wrong with probability is that, even if we’re honest and our rent, our random number generators are not physical, dice and cards are generally imperfect and not fully random.
Any pseudo-random numbers generated on a computer, of course, can’t be random at all, and it’s worth understanding a little bit about how these things work. So you can predict how players could exploit these random systems to gain an unfair advantage, whether it be through cheating at vegas or at a high-stakes esport, or just coming the save files of a single-player rpg to gain an unfair advantage. Now I could switch this next topic with the previous, but I like making sure that students don’t come to rely too much on probability before realizing its limitations. But after I do that I cycle back to a couple of other useful,
probably the tools specifically monte carlo simulations and markov chains now monte carlo, is just repeating a random trial, a few thousand or a million times, and seeing what happens and then through the law of averages, your results should be pretty close to an exact mathematical solution.
If there is one and monte carlo solutions are useful because they’re easy there’s no math required. You just make a spreadsheet or sometimes do some light scripting they can be used in situations where calculating calculating the exact solution is impossible or too unwieldy and slow, or if the student just doesn’t know how to do it. Monte carlo solutions also work as a useful sanity check. If you do have an exact solution.
If you solve a probability, question both ways and with monte carlo and with math and get the same answer, then it gives you a lot of extra certainty that you didn’t make a mistake. Markov chains, on the other hand, are useful for solving some very specific types of game design, problems that involve repeating something where the results of one thing affects the results of the next recursively as an example. Consider a board game, monopoly and if you’re trying to figure out which properties are the most or least likely to be landed on in order to compute the roi for the purchase price of the properties, you could do that with a monte-Carlo simulation just start at go and roll to d6.
A bunch of times go to jail when you roll three doubles in the roads of stuff like that, but you can also treat this as a set of states where each state is a combination of what space you’re on and how many times you’ve rolled doubles.
In a row- and you could build this transition matrix of probabilities between states take a column vector of probabilities of being in any given state at a time and multiply that by the matrix, a bunch of times and you’ll know after every single turn in the game.
What the possibility space is in terms of which spaces you might be on with what probabilities it’s a bit complicated compared to most of the other topics in the course and it’s limited to some very specific situations, but it’s very powerful for getting exact mathematical solutions.
For things that you couldn’t do any other way if you haven’t encountered this before there’s a blog on a website called data, genetics com that has an analysis of games like candyland and chutes, and ladders, and things they’re very helpful primers on that kind of thing. So now we’ve covered non-random, transitive, mechanics and also probability.
The next thing we do is smash those two things together to learn how to balance transitive, mechanics that have a random or situational element to them.
This is something that most students will have run into already in their earlier design: analysis of a tcg or similar game. What do you do when a card with a card when it says you only get some benefit in a particular situation like only if you’re fully healed, or only if the opponent has more than four cards in play or something, and the short answer is that you come up with some kind of reasonable estimate for how often that benefit would trigger, and you treat it as a probability, no different from saying fifty percent of the time you get this benefit or whatever.
So probably the purest instance of situational balance, I’ve seen is in tower defense games and I like to have the students play and analyze desktop tower defense 1.5, specifically it’s old enough that many of them haven’t played it before it’s historically important as one of the games that popularized the genre and almost everything in that game is situational.
You have some towers to do area effect, damage which were great when enemies are clustered together, but not when they’re spread out towers that only hit flying or non flying enemies or other towers that can hit both but are less powerful towers that do no damage at all and just boost the power of the towers next to them, so it all depends on where you put it and so on. The value of everything depends on the board state
and what kinds of enemies are in the next wave and what kinds of towers you make, and if you really want students to go all-in for this, you could even have a tournament see who can use their analysis to build the best tower load out and give your excess gdc swag to the winners, then we take the stuff that we learned about numeric relationships and transitive systems and put that together with probability again to examine reward systems and advancement in progression and pacing.
This includes things like random loot, drop tables and rpgs, so that you can make sure the player doesn’t get the ultimate sort of awesomeness +5 as a random drop in the first dungeon. We also look at progression systems like leveling curves, how many enemies you have to kill to gain a level on average. How long is that expected to take in playtime so you’re trading, off danger for time for advancement and also looking at advancement into story, which is a reward in and of itself and then bringing in human psychology and how a lot of little rewards spread out?
Provide more impact than a single big reward and how rewards on a random reinforcement schedule are more powerful than a fixed schedule. Stuff like that. If you want to place more emphasis on this, you could easily make this a semester-long project where you take a game like an old-school day rpg and go through all the encounter and loot and level charts and tables and use math to predict how long it will take a player to grind through each area when they level up and how often and generally winners the player receiving some kind of reward and then cross-referencing that reward schedule. With the most and least memorable events in areas in the game,
in order to understand from a mathematical perspective where the enjoyment of the game is coming from, this is also another place where professional ethics comes up, because reward schedules come up a lot in social and mobile games, and also in the gambling industry as ways to psychologically manipulate players to pay money or continue playing and there’s the question of whether that is okay, and if so, where do we cross the line into unethical behavior? And what ads do we as game designers? Do about it next up, we take a look at the reverse of probability, which is statistics and probability. You know the nature of the randomness and you use it to predict the what the actual data will look like like the results of a die roll in statistics. You see the results and you use those to try and derive the nature of the randomness that they arose from. Statistics is a bit harder than probability, because it’s just as unintuitive just as easy to get wrong and there’s fewer sanity checks to alert you to being wrong. You know there’s some people that have this saying that numbers don’t lie, but in reality the data are always trying to trick.
You they’re very mean so once we learn some basic statistical tools like mean median standard deviation, standard errors, the z-test statistical significance. Then we dive into analytics to learn about what kinds of numbers we should record for a game and how we would use the results to determine whether the game was balanced or not.
Fighting and brawling games and mobas are great with this, because you have a ton of characters that all have to be balanced against each other in ways that don’t easily lend themselves to being analyzed purely through math formulas and spreadsheet that relate them to one another. One exercise I like to do is give them is to come up with metrics. Have them come up with a metrics plan for a game that they’re working on themselves like, if you you might be working on some small passion project like a like a simple board game or something. But if you had a few thousand play tests and we could record any data, you wanted give me a question that you’d want to know the answer to and then list what data you would collect to get an answer to that question. And then, how would you interpret that data to get an answer like what would a positive or negative result look like, and this is yet another place where professional ethics is discussed in regards to metrics driven design? If you find out, for example, that changing a certain number or mechanic, or whatever leads to greater revenue, but also reduces player, enjoyment such as might be the case with mechanics that hold your players, accounts for ransom or that create intentionally, create pain, points that can only be removed by paying money.
Is that something that’s good? Is that something that’s unfortunate but necessary, or is it something that’s a breach of professing professional ethics as a game designer and, as with other ethical questions raised in this class I? Don’t give any answers or opinions I just point out that these are things that a game designer should be thinking about and forming an opinion about, because if you don’t, then someone else will make that decision.
For you. The last thing we cover in the class is in france ative mechanics, that is things like rock paper scissors, where there’s no concept of better or more powerful, because it all depends on what your opponent is doing. Something is strong against one thing and weak against another, and this is where we get into the fields of linear, algebra and game theory dealing with payoff, matrices and nash equilibriums to solve these kinds of problems.
Mathematically I think it’s pretty fascinating, that you can ask a question, like suppose, we’re playing rock-paper-scissors, but if I win with a rock, it counts double. And if you win with the rockets just normal and we’re playing to best of ten, you can actually use matrices and systems of equations to come up with a solution of exactly how often both of us should choose each throw and how big of an advantage. This is for me you know, so this is some of the matheus tedious math that I cover in the class and, frankly, it’s not all that useful in a lot of games, because it’s a very pure and it’s very work intensive. But there are a lot of games where that have some kind of intransitive relationships.
Any situation where you might use terms like hard counter or soft counter, which would include units and rts, is characters and fighting or brawling games or mobas character classes and mmo’s decks and strategies and tcg’s all kinds of things like that, and so like markov chains. I. Don’t think that game theory is used a lot in the field, but I do find it to be a really fascinating tool. That’s very powerful in the right situation, so I want my students to encounter it.
So one thing I want to point out here is that actually playing games either in class or as homework or maybe home play is really important in this class. Math is not always intuitive if you just write a bunch of equations on the board, but if you can see it in action. It’s a lot easier to grok. What’s going on, it’s also useful to provide context that the concepts we’re learning here are useful and can be applied directly to analyze games or solve real-world balanced problems in all the years. I’ve been teaching. This I have not once been asked the question: when will we ever use this? So students are seeing the theory and the application at the same time that helps keep the students engaged plus they love playing games as part of a course requirement, and it lets me introduce them to a number of games that I wouldn’t normally be able to get them to play otherwise, so that lets me add to their personal game canon as well.
Another thing this class lends itself to really well as pvp mechanics having students compete in some kind of game, balance or mathematical analysis test, where the final answer isn’t clear, isn’t obvious, and there are multiple layers of potential analysis. I have players either play on their own for a high score or play against each other in class in a tournament and I usually modify these games slightly both to simplify the constraints, so the analysis space isn’t as huge and also to prevent the students from just using google to find optimal strategies.
I also try to find a ver games that can be solved in a spreadsheet, because spreadsheet eating skills are really important for game designers and for game balance in particular. So this serves as a good practice for them. Cookie, clicker and desktop tower defense. I’ve mentioned already, bable bable was actually presented here by eric zimmerman last year and it’s been a wonderful in-class exercise.
For me, korto minuet is a game designed by jason rohr. That is a pure game theory problem with, and there I had to do some very heavy changes to that, because two elements of the original game are real money. Gambling, which is required and also satanic, seems so I had to remove those things.
Obviously pig is a traditional dice game. That’s a great example of calculating probabilities and goku is an intransitive game from the secotan series of rpg rpgs. We could just look all those up and and probably figure out. What’s going on with that another important topic: that’s distributed throughout the class is how to use spreadsheets because the vast majority of game balance problems can be solved in excel and I want students to be strongly proficient in spreadsheet. I divide these things up and introduce them a few at the time. Each a few at a time each week using the ones that are relevant to the problems that need to be solved that week I go into a lot of detail with this, mostly just pointing out features in excel that are useful and then asking them to use.
Those features in their design work for the week we cover formatting to make the spreadsheets look more readable and usable various types of graphs and charts that can be used to visualize data. How to comment your worksheet properly, the same way so the same way that you would have to comment your code, how to use formulas at a very basic level, doing sorting and data validation, dealing with multiple worksheets and how to format them for readability and usability.
Dealing with all the different ways to fill or copy and paste to save time and showing them a wide variety of useful functions of which there are too many to list in this slide. One notable exception here is I: do not get into writing scripts such as vb script in excel or the scripting language that they have with google sheets, because 99 times out of 100 it isn’t necessary and it just makes things way more.
Complicated and I get a lot of programming students that tend to default to writing script rather than learning to think in spreadsheets. I want students to be able to think in terms of formulas here not code.
A typical case is a student who will write a thousand line script to implement an ai to play a game and then all have to walk through it with them line by line to show them how to do exactly the same thing in about 50 cells. Instead greatly condensed and way more readable, the class also lends itself to multi-part projects that are longer-term.
One is designing doing a design analysis of an existing game or part of an existing game. I’ve had students do the math to derive the design, thinking behind hearthstone, dominion netrunner and a number of other card games figuring out the relationship between costs and benefits and then creating a new 5 to 10 card. Mini expansion for the game with cards all focused on a single mechanical theme that requires the student to invent a new mechanic and then figure out how much it costs.
This kind of thing becomes particularly awesome in cases where I happen to know the designer of the game that the student is analyzing in a lot of cases. Designers are particularly amused that their own creative work, their own commercial work, is being used as a class assignment and they’re usually very happy to be available for questions from students, though, in my experience, the students are usually too intimidated to take advantage of this in the future I’ll probably organize a required q&a or something like that. The other benefit is that, in some cases, I’ve been able to actually send the student work to the designer for consideration in using their expansion as part of a future release.
Having a professional design, credit for a class project is a kind of holy grail for the student in my class. It has not happened yet but these things are slow and the possibility is there for students working on other games or for a different class or just on their own passion projects analyzing their own games from a balanced perspective and creating mathematical models to improve the balance of their game is also, a useful way to go about this, or just give them tagged, aim to balance. I created a game called harmony that I presented before it’s a very simple tcg with just four mechanics, and the goal is to balance those mechanics with each
other starts off completely broken intentionally, and students have to figure out how to relate these things to each other projects in this class are super important, but to practice these skills on real games, because it’s one thing to say make a game as a project, it’s another to say now.
Balance second I’ve also been working over the past couple of years to document. Everything in this class and I now have the first draft manuscript for a complete book.
The first draft is done and I will be talking to publishers here at gdc and shortly after so, if you want to run a class like this, and you can wait a year or so to get it into your curriculum, I should have a textbook ready for you before too long in the meantime feel free to use what’s available on game balance. Concepts, even if it’s an earlier iteration and feel free to write me after the show, if you have any questions about it or anything thanks for listening and now, I will be happy to take a couple questions hi as a game designer actually run into this issue.
A lot in that I too, am usually running adverse sorry as a programmer I’m. Usually writing a lot of code and I’m trying to code my way around the things you’re talking about with the spreadsheet. It occurs to me that actually, probably one of their advantage in doing so much design through the spreadsheet is it probably creates a natural limitation as well to the scope.
So does it am I correct and that actually probably helps to prevent scope creep released um within ourselves? I would say that probably is true. So the question is would learning to do things balance in spreadsheets as opposed to code. You know limit artha limit. This helps to limit the scope of complexity. I think that’s definitely would be true. You know usually I have to usually I have to go the other direction in that trying to get them to stop using code in the first place and just getting them to sink in spreadsheets being able to think in terms of formulas in terms of relationships between mathematical things: if you’ve got something- and you know a algorithm- that’s super super complicated, then analyzing. It is very difficult and if something is too difficult for you to analyze, that’s too diffident it’s too complex to be put in the game.
So, yes, do you ever talk about logic and how logic can connect to balance when it comes to design? Okay, yeah. Can you uh? Can you clarify what you mean by logic, because that’s a very large term? Okay, so I often with my students realize that they don’t understand the logic generally of maybe the puzzle or challenge that they’re putting together and then, when it comes to balancing that experience in the game like what’s the difference between level, one and level, two in the difficulty, because they’re not following they’re, not they’re, not thinking through the logical problem, they’re having trouble just putting their head around. What is the balance, then, of that player?
Experience, okay, so we’re talking, you know: do students have difficult I, do I, go into game logic and understanding these mechanics and how they relate to each other. You know, because if students don’t understand how the mechanics of the game work at a core level, then it’s kind of hard to figure out how the numbers work. Is that correct? That would yes, but also the more sort of formal concepts of logic. Like spatial reasoning versus you know the different types of lot- okay, different types of logic in the current iteration I- don’t do that as if you’ve noticed there’s a lot that I am covering. That hasn’t been a problem for me in my experience.
I think a lot of it helps that I’m at rit, which has a very technical focus, so I get so students understanding some kind of propositional logic- and you know lambda calculus and things like that, like they get exposed to that through their computer science classes anyway, for a less technical group.
Usually, my biggest challenge is getting them to be able to have the mathematical thinking to understand at a just an intuitive level, how different numbers affect each other, and so logic would certainly be a part of that. But I’ll take one challenge at a time. Hi I work with a lot of teenage students 40 to 70 last week and I was wondering for a mini course for that age range.
What concepts do you think he would start them on so so this is yeah as you’ve noticed. I call this a math class. That’s cleverly disguised this game design, that’s kind of how I pitch it to other people here. So the one thing that I found is interesting is that, even though we get in some pretty heavy math, because it’s contextualized in games that students already understand and can already play, the math is, you know it has meaning and all of a sudden you don’t really like the prerequisite for this class in terms of what math you’ve encountered in the past is basically you know: can you solve an equation? You know from algebra one. If you know how to do that, I can scaffold everything else.
On top of that, I would certainly take some of the more challenging parts like linear, algebra and and game theory out, or at least greatly, simplify it or just say you know. This is something that exists. It’s a lot part. You know it’s a bit harder. It’s beyond the scope of this course. You know this is for a audience of of younger younger children and teenagers. You know, but most of this it’s you know it I. Usually it’s not the actual mathematical skills and it’s the challenge.
It’s usually it’s just building up the mathematical reasoning and intuitive, which do you think it’s actually like the most important concepts, or that you should start in like you’re like okay, I got 10 hours of you. What are you thinking about right, so I would say for yeah if you only have 10 hours how? How would I you know, pick the most important concepts in this class and that’s a good question I, would say: I would go through. You know the I would go through numeric relationships and I would go through the balance of tcg’s. Just because it’s you know it’s very, very, it’s very related to like algebra, so so kind of build on those skills that are probably going to be age, appropriate at that range.
It and- and you know, and it lets you you know, and it relates it to games that a lot of them are playing right now already. So, thank you.
That’s helpful, okay, I’m, not sure people are going to be about, but I’ll keep answering questions until someone tells me to stop. I have two questions so first very simple: how long?
How many hours well, of course, and how many hours are the students represented forth at which level is given this course? And the second question is we have quite similar course, but we have taken the point of view that you can explain everything taking the point of view of game theory, you want to go.
You made games against nature to introduce probability and you can choose a game negotiation to explain other topics?
What do you think about this point of view, because I understood that you’re just taking game theory on only at the informant nam translated choice system? Yes, so let me repeat that back because I’m not sure I quite got that so the first question is just you know how long this is taking like how many hours this is a in this current incarnation.
You know for the and for the second question you were asking about. The whole question is in the course well, given the whole. The whole content that you have given is is taken a different point of view from game theory.
For example, if you, when we introduce public vt, went reduce poverty, I’d games against the nature and thing like that, so my question would okay. Well it’s what you came to only only at the end, okay, so yeah.
The reason I do game theory at the end is partly because it ties together a lot of other things we’ve been doing in there, so it kind of requires you to understand a little bit about probability, a little bit about transitive, mechanics and how they relate to things.
You know, there’s all these a little bit about human psychology and just the idea that you know we can try to model like the human brains. Aren’t always mathematical. You know and bringing all you know, and also just encountering things like matrices and matrix multiplication in when we talked about markov chains. So all those things kind of are prerequisites that lead up to this.
That’s part of the reason why it’s at the end of the course that I talk about game theory, the the other side of this is yeah I mean like I, said it’s not something. That’s widely used in the field as a tool, and you know- and it certainly has a lot of limitations to it.
I just think it’s kind of neat and and certainly you’re, absolutely right, though, that you know even game theory doesn’t always predict human behavior and that that is worth mentioning in that section. I think that’s it and I do mention that if you’re once you’re games get sufficiently complicated, where you need game theory in order to you know, figure out things and you’re working on things on multiple levels, it’s probably too complicated for someone to actually solve it.
Intuitively anyway and player behavior is going to diverge from optimal math, but you could at least use that to write a good, ai.
Okay, thank you, okay and I’m being told to stop. So.
As we have down for other game engines, we are compiling the list of the best youtube channels to learn GDEVELOP that you can use to leverage your knowledge on the engine, as to decide if it deserves to be integrated in your game development pipeline.
We have ourselves being supporting the engine that we liked quite a lot, and we have created some tutorials on the engine.
Best youtube channels to learn GDEVELOP Table of Contents
What is Gdevelop
GDevelop makes it very easy to jump into simple 2D game developing. The quick drag and drop tools for the game space and the easy to follow coding language made it much less intimidating to try and create something! The coding can also be changed from the easy to read written-out style to a more complex coding language for those who want to learn more!
GDevelop has a variety of templates you can use, from platforming games to RPGs to shooters and more. While it may seem overwhelming to create your own game, GDevelop breaks down the coding into simple commands that teach the basics of coding and making the process approachable and fun. Also, the sprite designer makes it easy to draw quick characters and environmental items!
Although it is being developed at a good speed, and with good support from the open source community, it still needs a bit of more of tutorials and documentation to make things work exactly how it should. It’s surprising the software itself doesn’t have more of a guide, but with the help of this article it should be easy to find videos that will help you.
Even so the limitations, the qualities of the engine and the fact of being open source and free, makes it a very good alternative to develop 2D games.
Compilation of the best youtube channels to learn GDEVELOP
As in the previous examples, we couldn’t start the list without the official youtube channel for the GDevelop Engine. GDevelop is a free to use no code game engine, built around an event system that is powerful and yet easy to understand. GDevelop makes creating and exporting games for PC and mobile easy. Unleash your creativity with GDevelop and create any kind of game: platformers, puzzles, shoot ’em up, strategy, 8-bit games. and much other types of games.
A very interesting channel with high quality contents on all aspects of using GDevelop for your game. The channel is run by Andrew Dynamite aka Wishforge Games, and it approaches Gamedev and GDevelop Tutorials, Pixelart, Interviews, Freebies and much more. The channel uses in different occasions examples from their own games which helps leveraging the engine and its capacities to make games that can be published.
Yes, our own channel has very good content on learning to use Gdevelop to develop games 🙂
The channel from a Solodev that uses GDevelop to produce impressive amounts of prototypes with very interesting mechanics. It is not always focused in teaching how you can use the engine, but the examples that he is usually showing will allow you to better understand the engine.
The Gem Dev
A channel focused on creating tutorials on game development with gdevelop 5 and godot, with a focused not only on using games by themselves, but also the features and capabilities of the game engines used.
A very productive channel with a lot of different tutorials on different aspects of game development. The content that has been created for the Develop engine is very good and very easy to follow.
Some really good insights on how to approach game development with GDdevelop.
The Unreal Engine may seem like a puzzle that can only be solved by advanced users, but it’s not that complicated once you get the basics down, and the results are definitely worth it. Whether you’re a game developer, 3D artist, or cinematographer, you’ll find channels worth checking out in this list.
Best youtube channels to learn Unreal Table of Contents
1) Unreal Engine
Again, there’s no better way to learn all about an app than to watch the developer’s tutorials about it. the official Unreal Engine YouTube channel is not exactly beginner-friendly, but it’s a great source of learning material! The Unreal Engine YouTube channel is not exactly beginner-friendly, but it’s a great place to learn! The best thing about the Unreal Engine channel is a) the variety of content, including tutorials, presentations, webinars, new feature breakdowns, etc., and b) the fact that it’s free. The best thing about the Unreal Engine channel is a) the variety of content – tutorials, presentations, webinars, new feature breakdowns, etc., and b) the large number of very talented creators (including Epic Games Principal Technical Artist Ryan Brucks, Paulo Souza, Martina Santoro, and many others) who share their knowledge of working with the Unreal Engine.
DevAddict is a game developer who makes tutorials for the Unreal Engine. For game developers, there are no surprises here. Most of the lessons are not for complete beginners, but mainly for those interested in game design and creating powerful dynamic visuals (although there are a few videos that are useful for artists, such as a video explaining the difference between Dynamic Lighting and Baked Lighting in UE4). DevAddict has detailed, beginner-friendly tutorials that are easy to understand “even if you’ve never opened UE4 before.” Overall, you’ll find many lessons on UE4 and UE5, ranging from creating shaky effects to designing multiplayer games in the Unreal Engine.
3) Unreal Sensei
Zach Unreal Sensei is a California-based creator of tutorials for Unreal Engine 4 and 5. Zach’s beginner tutorials are specifically designed for people with zero knowledge of how the software works and how to use it. The lesson for absolute beginners spans four hours (well, no one said it was easy), but by the end of it, you will be familiar with materials, lighting, reflections, rendering in UE, and will be able to create photorealistic landscapes. Apart from the beginner-friendly introductory lectures, Zach also has some great UE4 and UE5 tutorials for advanced users.
4) William Faucher
This is a tutorial by a VFX/CGI artist with 11 years of experience in the entertainment industry. William has worked on VFX and CGI for Marvel’s Black Panther and HBO’s Watchmen. If you want to know how to create an Oscar shot that will amaze everyone, check out William’s tutorials. Almost all of the video lessons are quick and straightforward, and will help you learn how to design cinematic scenes using the Unreal Engine’s most powerful tools. You’ll get information on rendering, lighting, UDIM, and other important things within UE4. This tutorial does not cover the absolute basics of the Unreal Engine, so a basic knowledge of the software is highly recommended.
5) Smart Poly
Whether you’re a beginner feeling confused about the Unreal Engine workspace or a seasoned user looking to deepen your knowledge of the software, you’ll find plenty of useful UE4 and UE5 tutorials on Smart Poly’s channel. You’ll find tutorials on how to create open-world maps, photorealistic landscapes, recreating Among Us using the Unreal Engine, and much more. Smart Poly also has a great tutorial on how to design characters and create organic, realistic movement in the Unreal Engine. Like the DevAddict channel, this channel is recommended for anyone interested in game development using the Unreal Engine.
6) Cinematography Database
You are in cinema, and you would like to understand how Unreal could improve your production pipeline? Then this channel is certainly for you, Matt Workman is a cinematographer who publishes incredibly detailed tutorials for creating breathtaking visuals within the Unreal Engine. For artists looking for tips on how to create stunning cinematic shots, this channel is the place to go. Matt explains in detail how every scene is created and covers every step of the process, but if you’re not familiar with the Unreal Engine at all, these tutorials can be a bit daunting. If you are not at all familiar with the Unreal Engine, these tutorials may be a bit daunting.
Bev, the creator of the Underscore channel, is an Australian artist and game developer, and if you’re creating games with the Unreal Engine, you’ll find a lot of useful information in this channel. Bev recreates some of the coolest effects from popular video games (Fortnite, Skyrim, PUBG, etc.) in UE4 and explains how to use the different tools and features in the app (materials, brushes, occlusion masking, etc.). Even if you come to this site for 3D art and not for game creation, you will find several tutorials that will help you better understand the UE4 workflow. You can learn how to create realistic landscapes, simulate cloth, use PBR materials within the Unreal Engine, and much more.
8) VR Division
A youtube channel helping other people not always related with game development around the world build projects that inspire them with Unreal Engine, very good with architectural concepts and the usage of Unreal in areas of application different from just developing games.
9) J HILL
A very interesting channel for Game Artists that want to get into the Unreal train. It includes several good tutorials on how Unreal can help artists in creating really good art that can shine by itself. The channel is managed by a professional character artist in the games industry, who wants to help people that are interested in Digital Art! Subjects like 3D Character art, Zbrush sculpting and modeling, Game art, and Rendering; by sharing some of his thoughts, experiences and techniques.
Whether it’s tutorials or time-lapses, he is creating helpful videos for those interested in digital sculpting and art that are informative and entertaining.
10) Awesome Tuts
Not specifically focused on Unreal, but also in other engines ( like our own channel), the materials covered are very good and very intuitive to follow. It has a very good blog associated with it where the author is expanding more information in specific topics.
11) World of Level Design
The vision of game and level design into Unreal. A very good channel that is only focused on the creation of game worlds, and game environment art. The channel is run by AlexG. who is algo managing the blog WorldofLevelDesign.com, both channel and blog have the purpose to create tutorials through which you can learn how to design your own levels (maps) and create your own game environment art.
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