Starhawk Released!

On Tuesday May 8 LightBox Interactive launched our first PS3 title, the game I’ve spent the last four or so years of my professional life working on: Starhawk.

For me, Starhawk represents a lot of firsts.

It’s the first time I’ve worked with a startup. LightBox was formed from the remains of Incognito after we finished Warhawk and its expansions, so I’ve been with the studio since Day One.

Incognito was based in Salt Lake City, Utah, but we wanted to move LightBox to a more active creative center. That led to my first interstate move, to beautiful Austin, Texas!

When we formed LightBox I was the only game designer on the team. I guess I became lead designer by default. ;) It fell to me to hire a team of designers, another first for me. Fortunately I landed a great crew!

Starhawk is also my first full-featured AAA title. Sure, Warhawk had the production value, but it was multiplayer-only. This is the first time I got to work on a AAA game with not only great multiplayer, but also a story-driven single-player campaign, which is something I’ve wanted to do ever since I got into the industry.

It’s the first time I, personally, had serious media exposure. On Warhawk I gave an interview or two, but on Starhawk I was doing the full rounds, both at our unveil event in downtown Austin, and later at my first E3.

I also got to attend GDC for my first time (and my second!) while Starhawk was in development. I met a lot of new people and learned a ton of amazing things there; GDC has since become the one thing I most look forward to each year.

Late in development I had the opportunity to speak (alongside colleagues Trent Polack and Matthew Gallant) at Juegos Rancheros, a local gathering of game developers, about the relationship between Starhawk and my indie work. It was my first ever public speaking engagement. (It could’ve gone better.)

As a lead I was exposed to lot more of the inner workings of the game development business than I ever had the opportunity to see before. Not just tech and process, but also publisher relations, marketing, financials… the works. For the first time I got a very real, practical sense of how much it costs to make a AAA game, and where all that money goes.

I’ve been in the industry about seven and a half years now, and LightBox is the first studio — and Starhawk the first project — where I experienced really loving my career. On the flip-side, it’s also here that I’ve had to deal for the first time with real frustration over creative differences (because this is the first time I’ve actually cared enough to be invested in them). And unfortunately, it is NOT the first time I’ve had to endure an end-of-project crunch.

But I guess that’s creative work for you: the greater the distance between the highest highs and the lowest lows, the more likely you are to be working on something special.

So what’s next?

Just like with Warhawk, we’re planning extensive post-release support for Starhawk, starting with our launch-day announcement that all DLC maps will be made available free of charge. We’ve released early concept art for the first such map, named “Cypress” (no release date announced, yet):

As for me personally: if you’ve followed this blog at all you’re probably aware of my indie project Fail-Deadly and its impending iOS port.

Due to several months of crunch on Starhawk, all my indie work has been completely on hold. But now that Starhawk is on shelves, I should be getting back in the saddle and finishing up the iOS version of Fail-Deadly, hopefully this summer.

In the meantime: enjoy Starhawk, and I’ll see you online! 8)

Horseback-Getting-On

Wisdom from Penny Arcade:

You have to get back on the horse.  Somehow, and I don’t know how this kind of thing starts, we have started to lionize horseback-not-getting-on:  these casual, a priori assertions of inevitable failure, which is nothing more than a gauze draped over your own pulsing terror.  Every creative act is open war against The Way It Is.  What you are saying when you make something is that the universe is not sufficient, and what it really needs is more you.  And it does, actually; it does.  Go look outside.  You can’t tell me that we are done making the world.

FUCK. YES. :D

Ashley

[Spoiler alert: This article is all about the ending of Mass Effect 3, and includes some other series spoilers as well.]

In the end, all I could think about was Ashley.

I met her at the beginning of Mass Effect, on Eden Prime. She was the sole survivor of her squad. I could relate: I’d lost a squad of my own, back on Akuze.

On Virmire, when the shit hit the fan, I saved her without hesitation.

I remember she liked poetry. Especially Tennyson.

Then the Normandy SR-1 went down. I died, and woke up in a Cerberus base, rebuilt from the ground up. Early on, Mass Effect 2 showed no signs of bringing back any of the old crew, Ashley included. I remember being disappointed. Miranda was no substitute.

Then we landed on Horizon, and Ashley was there. She thought I was dead, but the joy lasted only so long as it took her to realize I was working alongside Cerberus. Suddenly she was suspicious, cold. I wasn’t the Shepard she remembered. And just like that, it was over.

Miranda became a little more attractive after that, but I still remember the twinge of guilt when she came to my cabin the night before our suicide run through the Omega IV relay. It should’ve been Ashley in that cabin… but it wasn’t to be.

We jumped through the relay and destroyed the Collector base. We survived, and I cut ties with Cerberus for good.

Then the Reapers hit Earth, and while preparing for a mission to Mars to recover the blueprints for what would eventually become the Prothean Crucible, I ran into Ashley again. She’d made Lieutenant Commander, come a long way from the Gunnery Chief I met back on Eden Prime. She was wary, unsure I’d really cut ties with Cerberus, but I convinced her to join me on the mission. I’d prove I was the Shepard she really remembered.

On Mars, Ashley was nearly killed by a rogue AI. We barely managed to get her to the hospital on the Citadel. I remember going to visit for the first time. There was a gift shop there. Flowers, chocolates… and a Tennyson anthology. I looked forward to seeing her reaction when I gave it to her. It’s the little things that matter most.

She was still comatose. She looked like hell. We couldn’t talk. I said a few unheard words and reluctantly went back to saving the galaxy.

I remember she sent an email a while later. I was light years away. She’d been offered a SPECTRE position by Councillor Udina. The second human SPECTRE — a hell of an accomplishment. She’d earned it. I was proud.

It led to me pointing a gun at her, and she at me. Udina had betrayed humanity, and she was protecting him. She hadn’t realized his treachery. That situation almost got real, real ugly. I think the only thing that held it together was that she and I, we knew each other better than that.

I remember we united the galaxy, together, to take the fight to the Reapers.

I remember saying our goodbyes in the ruins of London. I remember her saying, “I don’t want you to go.” But I had to. We had to. This was it.

I remember making a run for the Citadel beam, dodging laser blasts from the Reaper that had intercepted us. Ashley was right behind me. We were almost there.

And then I was down. I remember the hopelessness, the desperation in the radio calls. “They’re all down.” “Nobody left alive.”

I staggered to my feet, badly wounded. Bodies lay strewn about. I saw a woman in blue armor lying face down just ahead. Ashley wore blue armor. Please, no.

I took a bullet from a Marauder that came out of nowhere, and by the time I put it down and looked back, the woman in blue armor was gone. Maybe I’d been disoriented in the fight? Where was Ashley?

And then I was in the Citadel beam, being pulled up, and I found myself in a room full of corpses. Ashley, Ashley, are you in here? God, I hope not. Where are you?

I stumbled through this unfamiliar part of the Citadel and found the controls to open the docking arms, which would allow the Crucible to connect: our last, best hope to destroy the Reapers. Admiral Anderson was there, and the Illusive Man too, clearly indoctrinated. Shortly, he was dead.

I remember slumping down next to Anderson. We were both mortally wounded, two career soldiers who knew their times had come. I felt for Anderson, my loyal friend from the beginning, but really I just kept hoping for Ashley to burst into the room, alive and bringing hope. She didn’t. For all I knew, she’d been incinerated by the Reaper.

At least we’d gotten to say goodbye.

Things got pretty surreal after that, but in the end I was faced with a monumental choice: take control of the Reapers, as the Illusive Man would have; fire the Crucible and destroy the Reapers, as we originally intended; or assimilate myself into the Crucible and synthesize all organic and synthetic life in the galaxy into a single form, ending the need for the Reapers’ cycle altogether. In every case, my own life was forfeit.

It was supposed to be a philosophical dilemma, that much was clear. Deciding the fate of the galaxy, and all that.

But all I could think about was Ashley.

Take control of the Reapers? Then I’d become what the Illusive Man had been. It might’ve saved Ashley, but she’d be devastated by that choice: it’d be easier for her if I died, than for me to become… that.

Synthesize all life in the galaxy? It would end the war, but the Ashley I know and love would cease to exist. Not much salvation, there.

So I fired the Crucible, destroyed the Reapers, and died hoping that Ashley would be safe. My last thought: I’ve made her lose me twice.

At no point in making this decision did I give the slightest shit about the rest of humanity, about the Turians or the Asari, the Quarians, the Krogan, or any of the other races. I had united the entire galaxy behind me, and in the end, all that mattered was a Gunnery Chief I met on Eden Prime.

To be clear: I’m not actually in love with a video game character. But Mass Effect is a role-playing game, and I’m the sort of gamer who takes the “role-playing” seriously. Throughout this trilogy I lived the saga of Commander Shepard, and Ashley Williams was a powerful part of that saga.

I wrote this narrative to illustrate a point: Mass Effect made me care about a character so much that I made the most important, most final decision of the entire trilogy based on what I thought would make her happy. The choices on the Crucible are all brutal, to be sure. There was no clear “right” answer, if you were thinking in terms of saving the galaxy. But thinking in terms of saving Ashley? That choice couldn’t have been clearer.

I have never in my history of gaming experienced so profound a realization as this: Mass Effect, for me at least, created empathy. Real, true empathy. I can’t think of a single other video game that’s done that.

There are people who say that games and stories are fundamentally opposed. Ashley only meant anything to me because of the choices I made: this kind of empathy could not have been done in a non-interactive medium. I finished the Mass Effect trilogy my way, and I’m still thinking about Ashley, and it’s not just because of the story: it’s also because of the game, because I had the opportunity to choose to make a selfless decision for the good of someone I cared about.

And I say that’s proof-positive that games and stories can be a match made in heaven.

Breaking In: You Don’t Need Anyone’s Permission

Whenever an aspiring game designer asks me how they can break into the games industry, I tell them: It’s not about a college degree, it’s not about paying your dues, and it’s not about who you know. It’s about just knuckling down and making games.

A while back I noted an article by Adam Saltsman where he gave similar advice:

Ultimately, whether you are aiming for big games or small ones, or somewhere in between, my advice is the same: start creating something right now, and keep doing it every day.

Well, here’s another voice speaking up in favor of the direct approach, Loot Drop’s Elizabeth Sampat:

That’s the big lie. There’s no “breaking in” to game development. Waiting for your break is like standing outside of a public library waiting for someone to invite you in. If you have the love and the drive, you can walk through that door on your own.

You really should go read the whole thing; it’s a great story. But I especially wanted to point out this gem, from her response to a commenter:

When I was making (and self-publishing) these little games, and I got my first job interviews, and I thought SHIT! What do I put on my resume? I’ve been taking shit jobs so I had more time to make my games! It took a friend actually reminding me that the games I made counted, and were why I was being offered the interview in the first place. It is incredibly easy to de-legitimize the games you make on your own, but you’ve got to fight that urge. Take yourself seriously and other people will, too

I think Elizabeth is spot-on here, and I think this de-legitimization is the thing that makes people think they need to go to school, or get to know someone on the inside, or carpet-bomb studios with empty resumes: they’ve convinced themselves the games they might produce as amateurs have no value. Sure, those games might not sell, but with every game you make you learn a little more about what to do and what not to do, about what you’re good at and where your skills gaps lie, about what ideas you have in you to express, and about how you can put it all together without killing yourself in the process. The skills you develop, and the knowledge you gain about yourself, are both infinitely more important to studios than your college degree or your social connections. And I know what I’m talking about: I was personally responsible for hiring the entire design team at LightBox, and I’m telling you right now what I did and did not look for in making those decisions.

Now stop reading this stupid blog and go make a game, already!

God Bless the Internet

There are few things more useful to me as a designer than watching somebody play my game. When I’m working on Starhawk, that’s an easy enough thing to do: like any other AAA production we have formalized playtest sessions as part of the normal design process, and the feedback we generate from those sessions is invaluable.

It’s a little trickier with Fail-Deadly, since most of the game’s exposure is to random folks all over the world via the Internet, people I will most likely never meet. But fortunately for me, some of those people have a hobby of their own: playing games and posting video recordings of their playthroughs to Youtube. I’ve known about the “Let’s Play” phenomenon for some time, but I didn’t figure a little hobby project would find its way onto that radar.

But that’s the cool thing about the freedom of information: anyone can play and post anything, no matter how niche. And suddenly, lo and behold, I’ve got a whole playlist of people playing Fail-Deadly. Some even have running commentary! Design jackpot!

I particularly enjoyed this one, by Youtube user crazyofengland. He seems so emotionless at the start, and then a few minutes in he just totally panics and starts cursing and losing his shit. It’s amazing. :D

But entertainment aside, there is one very surprising, interesting, and slightly embarrassing thing that I discovered in pulling this playlist together: a plurality of players seem to be experiencing an issue whereby none of the projectiles, score pop-ups, or certain effects are rendered. I had received a bug report via Twitter a couple months ago about missing score pop-ups, which I’ve never been able to track down, but because the reporter is Russian I’ve been chasing a theory that the bug had to do with that locale (e.g. an issue rendering the Russian character set). But seeing this trend in the playlist, I don’t think that’s the case. It’s too early to say for sure but I think it may be a z-sorting issue of some kind. Question is, what’s the common element among the players who are seeing the issue? My best guess at the moment is that they’re all on Windows Standalone builds, but that seems too broad.

It sucks, because the players who aren’t seeing projectiles are seeing a pretty unpolished presentation. And worse, not seeing score popups means an entire layer of gameplay — combo bonuses and quick drops — is entirely invisible.

Anyway, consider the bug added to the list for version 1.2… and God bless you wonderful Internet people for uploading gameplay videos. :D