The Technology Pipedream - A Development Fallacy. The role of technology in game design and development - by Ivan Beram. The updated and extended presentation delves into the nature of technology and games, and how one can be mixed up as being the other; using the author\'s experiences working in the industry, with Far Cry as an illustrative example.

1. v1.2
THE TECHNOLOGY PIPEDREAM – A DEVELOPMENT FALLACY
The Role of Technology in Game Design & Development
IVAN BERAM – GAME & LEVEL DESIGNER
sELFiNDUCEDcOMA.com
OMA

2. Commentary: the original talk was given at Free Play
(Melbourne, 2003) then at the Australian Game Developer's
Conference (Melbourne, 2004).
Knowing how useless most talk slides are without the
prepared speech – a series of simplified points, or a series of
images, bordering on meaningless. I've rewritten mine in
more detail allowing someone to read the slides and have a
better idea of what I actually meant by them. Especially if
they didn't attend the talk, hopefully providing clarity.
These slides have also been updated and expanded for this
web version. Enjoy!

3. TALK OVERVIEW
• First off: a little background
• What is technology?
• What is gameplay?
• What consumers want
• Where we can go wrong
• E3 demo as an example
• The first playable
• The middleware path
• The middleware reality
• The middleware cost
• My stark conclusion
• Q&A

4. TALK OVERVIEW
• First off: a little background
• What is technology?
• What is gameplay?
• What consumers want
• Where we can go wrong
• E3 demo as an example
• The first playable
• The middleware path
• The middleware reality
• The middleware cost
• My stark conclusion
• Q&A
The purpose: to convince you that technology is a means to
an end, not the end itself.

5. TALK OVERVIEW
• First off: a little background Far Cry's E3 2002
• What is technology? gameplay demo, which
• What is gameplay? was runner's up for
• What consumers want Best-of-E3 in a
Where we can go wrong number of categories.
•
Is utilised as a
• E3 demo as an example
basis for this talk;
• The first playable
as are my experiences
• The middleware path working for two
• The middleware reality middleware developers
• The middleware cost – Crytek & Micro
• My stark conclusion Forté.
• Q&A
The purpose: to convince you that technology is a means to
an end, not the end itself.

6. X-ISLE: A TECHNOLOGY DEMO FAR CRY: FIRST GAMEPLAY
TRYING TO BE A GAME DEMO – E3 2002
FAR CRY: THE FINAL PRODUCT
TODAY

7. X-ISLE: A TECHNOLOGY DEMO FAR CRY: FIRST GAMEPLAY
TRYING TO BE A GAME DEMO – E3 2002
On my arrival Far Cry was actually
X-Isle, an impressive technology
showcase lacking in interactivity.
All graphics and no game.
On becoming Lead Designer, the
concept evolved into Far Cry. By E3
2002 – six weeks later – we had a
demo that showcased actual gameplay,
not just the technology powering its
graphics.
Gameplay, still evident in the
final product.
FAR CRY: THE FINAL PRODUCT
TODAY

8. WHAT IS TECHNOLOGY?
Technology is...
• e.g. physics engine – or better yet, a smaller
component of it like: “rag-doll” physics.

9. WHAT IS TECHNOLOGY?
Technology is...
• e.g. physics engine – or better yet, a smaller
component of it like: “rag-doll” physics.
Evidently this is a
screenshot from a rag-
doll physics tech demo.
Each time it starts the
outcome can vary a little
or a lot. But, that is most
likely the whole extent to
its “interactivity.”

10. WHAT IS TECHNOLOGY?
a TECH-demo is...
● Various technology loosely integrated
together into a showcase – at best.
● Lacks any real functionality – (active)
interactive use in creating gameplay.
● A shallow (passive) experience for the
user, like watching a film, with the odd bit
of interaction that has no gameplay
purpose – just initiates the demo / feature.

11. WHAT IS TECHNOLOGY?
a TECH-demo is...
● Various technology loosely integrated
together into a showcase – at best.
● Lacks any real functionality – (active)
interactive use in creating gameplay.
● A shallow (passive) experience for the
user, like watching a film, with the odd bit
of interaction that has no gameplay
purpose – just initiates the demo / feature.
Singular purpose: prove the technology works!

12. WHAT IS GAMEPLAY?
Gameplay is...
• One definition: an entertaining (active)
experience where the player interacts with
the game world via game mechanics
powered by underlying technologies.
ragdollkungfu.com

13. WHAT IS GAMEPLAY?
Gameplay is...
• One definition: an entertaining (active)
experience where the player interacts with
the game world via game mechanics
powered by underlying technologies.
These screenshots show a
game utilising a form of rag-
doll physics married to various
game mechanics, in order to
create gameplay.
ragdollkungfu.com

14. WHAT IS GAMEPLAY?
a GAMEPLAY-demo is...
• Game mechanics (systems) highly
interwoven into a cohesive whole,
integrated with underlying technology.
• Tech through mechanics has clear
functionality (purpose) in facilitating the
title's interactivity / immersion – gameplay!
• Has art in place, though, not necessarily
“finished” (polished) art.

15. WHAT IS GAMEPLAY?
a GAMEPLAY-demo is...
• Game mechanics (systems) highly
interwoven into a cohesive whole,
integrated with underlying technology.
• Tech through mechanics has clear
functionality (purpose) in facilitating the
title's interactivity / immersion – gameplay!
• Has art in place, though, not necessarily
“finished” (polished) art.
Main goal: not to be a shallow (passive) experience, but,
one with (active) player engagement.

16. In way of terminology, I've actually heard
WHAT IS GAMEPLAY?
tech-demos referred to as gameplay-demos.
However it is my understanding that these
are far moreainteractive in nature – I
GAMEPLAY-demo is...
would refer / liken it to: “prototyping.”
• Game mechanics (systems) highly rough
They may be testing a combination of
interwoven into a cohesive whole,
game mechanics in a sandbox-like
integrated with underlying technology. in
environment (level) with stand-in art –
some cases levels are merely “blocked” out,
• Tech through mechanics roughclear
as are entities, with has limited
functionality in place. Ain facilitating the
animations (purpose) tool for getting
feedback in order toimmersion – gameplay!
title's interactivity / refine the game vision
and mechanics. Their aim is to focus solely
• on gameplay, function, ignoring the polish.
Has art in place, though, not necessarily
“finished”it is often art. same “polish” as
However, (polished) this
represented in a vertical-slice of the
Main goal:that makes gameplay so effective but,
game, not to be a shallow (passive) experience, by
one with (active) player feedback to the player.
providing vital engagement.

17. WHAT CONSUMERS WANT?

18. WHAT CONSUMERS WANT?
Yes, gamers are
consumers and they
want interactivity! So
do publishers.

19. WHAT CONSUMERS WANT?
Yes, gamers are
consumers and they
want interactivity! So
do publishers.
The GTA series of
titles is highly
regarded for its
“sandbox”
gameplay – and
quite often
emulated for its
popularity.

20. WHAT CONSUMERS WANT?

21. WHAT CONSUMERS WANT?
Functional means:
ease-of-use
(usability).

22. WHAT CONSUMERS WANT?
Functional means:
ease-of-use Freedom Fighters,
(usability).
let you control a
resistance squad
to wage skirmish
warfare with
tactical ease –
well, almost.

23. WHAT CONSUMERS WANT?

24. WHAT CONSUMERS WANT?
Active entertainment,
not passive
entertainment like film.

25. WHAT CONSUMERS WANT?
Will Killzone's
gameplay and
even graphics,
live up to the
pre-rendered
trailer hype?
Active entertainment,
not passive
entertainment like film.

26. WHAT CONSUMERS WANT?
Update: evidently with the title's release Will Killzone's
it has, though with a little hype – as I gameplay and
imagined the case being. However, my even graphics,
purpose with this example was to live up to the
illustrate the danger there is in pre-rendered
forgetting that games are an interactive trailer hype?
form of entertainment. In this case the
developers delivered gameplay and
largely comparable graphics, to the pre-
rendered vids. Many less experienced Active entertainment,
developers, would not have delivered not passive
on this promise. entertainment like film.

27. WHAT CONSUMERS WANT?

28. WHAT CONSUMERS WANT?
Not just graphical
“wow” effects, pretty
pictures on a screen.

29. WHAT CONSUMERS WANT?
Not just graphical
“wow” effects, pretty
pictures on a screen.
Beyond the exterior
polish of Serious
Sam 2's graphics. I
can't help but
think the gameplay
is repetitively
generic and stale.

30. WHAT CONSUMERS WANT?

31. WHAT CONSUMERS WANT?
But something:
functional, interactive
and immersive!

32. WHAT CONSUMERS WANT?
The Warriors was a
game without the
best graphics, but,
it more than made
up with it via
highly interactive
environments and
immersive gameplay.
But something:
functional, interactive
and immersive!

33. WHAT CONSUMERS WANT?

34. WHAT CONSUMERS WANT?
Marrying your strong gameplay to a strong
scenario to drive it.
Can do wonders to your immersion too!

35. WHAT CONSUMERS WANT?
However story like
graphics alone, is
not enough as games
are interactive
foremost. An active
not passive medium.
Marrying your strong gameplay to a strong
scenario to drive it.
Can do wonders to your immersion too!

36. WHERE WE CAN GO WRONG
What is a game system?
• It is comprised of:

37. WHERE WE CAN GO WRONG
What is a game system?
• It is comprised of:
BACK-END
Core supporting
architecture and
management base
ENGINE CORE

38. WHERE WE CAN GO WRONG
What is a game system?
• It is comprised of:
FRONT-END BACK-END
Components that Core supporting
communicate game architecture and
system to player and management base
allow for interaction
ENGINE CORE
INTERFACE SHELL

39. WHERE WE CAN GO WRONG
This represents the
What is a game system? greyness of where
one layer ends and
• It is comprised of: another starts. It can
also represent the
game mechanics that
glue the two together.
FRONT-END BACK-END
Components that Core supporting
communicate game architecture and
system to player and management base
allow for interaction
ENGINE CORE
INTERFACE SHELL

40. WHERE WE CAN GO WRONG
This represents the
What is a game system? greyness of where
one layer ends and
• It is comprised of: another starts. It can
also represent the
It's remedial systems game mechanics that
theory, even a little glue the two together.
simplistic in that
game systems are
FRONT-END specialised for
highly BACK-END
interactivity; but, it
Components that Core supporting
will do for this talk.
communicate game architecture and
system to player and management base
allow for interaction
ENGINE CORE
INTERFACE SHELL

41. WHERE WE CAN GO WRONG
Some sticking points:
• At times hard to categorize tech in that tech can
fit into both categories, having both a front and
back end role to play – eg 3D Renderer, Physics
• Also, some tech compliments another by either
providing front or back end functionality for it.
• “Deficiencies” arise when tech is missing
elements to its front or back-end – without one
you lose the functionality of the other.
• Or, when a tech / system that provided the front
or back-end functionality does not exist, creating
the same result.

42. WHERE WE CAN GO WRONG
To perhaps confuse things further, I'm
Some sticking points: game-mechanicsthem
going to generalise
game-systems by also referring to
and
• Atas “tech” from now on – tech in that tech can
times hard to categorize as that is
really what it boils down to being; as
fit somethingcategories, having both a frontbe
into both like “written language” can and
back end role a form ofeg 3D Renderer, Physics
considered to play – technology.
• Also, some game-mechanics are predisposed
However, tech compliments another by either
to having interactivity as their goal –
providing front or back end functionality for it.
their purpose.
• “Deficiencies” arise when tech is missing
elements to enablers, back-end – without one
They are its front or allowing the player
you lose the functionality of thesystem. It's
to interact with the game other.
an important distinction to make
• Or, when aunderstood. that provided the front
clearly tech / system
or back-end functionality does not exist, creating
the same result.

43. E3 DEMO AS AN EXAMPLE

44. E3 DEMO AS AN EXAMPLE
Some history: around 2
months out from E3,
what was X-Isle became
Far Cry. Most of the
demo shown that year
was hammered out in
about 6 weeks. It was an
important showing, as it
was the team's chance
to show that they could
deliver an actual
cohesive title, not just a
mix-bag of technology
demos. So the E3 demo,
is an ideal illustrator.

45. E3 DEMO AS AN EXAMPLE
The screenshot is a
Some history: around 2
little misleading
months out from E3,
however. It comes from
what was X-Isle became
X-Isle's precursor, a
Far Cry. Most of the
technology demo called
demo shown that year
X-Isle: Dinosaur was hammered out in
Island. X-Isle the about 6 weeks. It was an
game, was an attempt important showing, as it
at an interactive use was the team's chance
of the underlying to show that they could
technology. But to put deliver an actual
it bluntly, it was a cohesive title, not just a
frustrating failure to mix-bag of technology
play – if you could demos. So the E3 demo,
even call it “play.” is an ideal illustrator.

46. E3 DEMO AS AN EXAMPLE

47. E3 DEMO AS AN EXAMPLE
Prior to the E3 demo, it
was quite easy whilst
playing the game to
become lost in the dense
environments of trees
and bush; unaware of
where the enemy was.
Yet, it knew exactly
where you were and could
easily attack –
frustratingly so.

48. E3 DEMO AS AN EXAMPLE
Prior to the E3 demo, it
was quite easy whilst
playing the game to
become lost in the dense
environments of trees
and bush; unaware of
where the enemy was.
Developers tend to Yet, it knew exactly
forget what they are where you were and could
trying to create. They easily attack –
assume by having the frustratingly so.
(front-end) technology
to render densely
populated outdoor
terrain, that they have
the gameplay as well.

49. E3 DEMO AS AN EXAMPLE

50. E3 DEMO AS AN EXAMPLE
AI could not only see
through the brush, but
also environmental
effects like fog. In
fact all they had to do
to see you, was draw a
straight line from
their eye-point to the
player's – no matter
how well hidden you may
have been.

51. E3 DEMO AS AN EXAMPLE
Hard and soft cover were
modelled – part and parcel in
achieving the core gameplay
AI could not only see of Far Cry. Hard cover (rocks
through the brush, but and trunks) provided shelter
also environmental from attacks yet impeded
effects like fog. In movement. Soft cover
fact all they had to do (bushes and foliage)
to see you, was draw a obscured you from view, from
straight line from the AI, but did not impede
their eye-point to the your movement. This missing
player's – no matter back-end vastly improved the
player gaming experience.
how well hidden you may
have been.

52. E3 DEMO AS AN EXAMPLE

53. E3 DEMO AS AN EXAMPLE
Your real-time dynamic,
volumetric, soft-shadows
may look great, but, do
they have any purpose
other than to make the
screen look good?

54. E3 DEMO AS AN EXAMPLE
Do the shadows
actually make it easier
for the player to hide
from enemies and to
sneak stealthily upon
them? How about the
real-time lighting,
does standing in the
spotlight actually
Your real-time dynamic, make you a more
volumetric, soft-shadows clearer target?
may look great, but, do
they have any purpose
other than to make the
screen look good?

55. E3 DEMO AS AN EXAMPLE

56. E3 DEMO AS AN EXAMPLE
Does crouching,
leaning, walking
and running have
any advantage and
disadvantage
towards shooting?

57. E3 DEMO AS AN EXAMPLE
Does crouching,
leaning, walking
and running have
any advantage and
disadvantage
It largely depends on towards shooting?
the game as to whether
you wish to affect the
players aim if they're
doing something like
running. But, how about
the AI, are they all
precise marksman even
whilst running?

58. E3 DEMO AS AN EXAMPLE

59. E3 DEMO AS AN EXAMPLE
How about running
through foliage,
making it move,
making lots of
sound. Does this
affect stealthiness?

60. E3 DEMO AS AN EXAMPLE
Is that why the player
was spotted so
easily?
How about running
through foliage,
making it move,
making lots of
sound. Does this
affect stealthiness?

61. E3 DEMO AS AN EXAMPLE

62. E3 DEMO AS AN EXAMPLE
Does the player (or
AI) suffer any
disadvantages and
advantages to stealth
whilst crouched?

63. E3 DEMO AS AN EXAMPLE
Does the player (or
AI) suffer any
disadvantages and
advantages to stealth
whilst crouched?
Can the enemy see the
player crouched and hiding
in the long grass, lying in
ambush for the enemy
approaching?

64. E3 DEMO AS AN EXAMPLE

65. E3 DEMO AS AN EXAMPLE
By adding the back-end so
that the AI checks a number
of body-points rather than
just the eye-point, so as to
determine how visible the
player is. Along with checking
other aspects, like whether
they are running, creeping,
standing or crouched – not to
mention whether they are in
the darkness or a bright spot
of light. You can begin to
actually model adequate
stealth gameplay.

66. E3 DEMO AS AN EXAMPLE
By adding the back-end so
that the AI checks a number This is already
of body-points rather than done to a large
just the eye-point, so as to extent for the
determine how visible the player. Can you
player is. Along with checking spot the sniper
other aspects, like whether behind the fallen
they are running, creeping, log easily without
standing or crouched – not to the binoculars?
mention whether they are in
the darkness or a bright spot
of light. You can begin to
actually model adequate
stealth gameplay.

67. E3 DEMO AS AN EXAMPLE

68. E3 DEMO AS AN EXAMPLE
Developers tend to forget that
various aspects are already
“modelled” for the player, and
need to be instead modelled for
the AI – so as to be seen as
“realistic” and/or “fair” as per the
expectations of the genre.

69. E3 DEMO AS AN EXAMPLE
AI that jumps around Developers tend to forget that
like it's playing a various aspects are already
game of Quake on “modelled” for the player, and
methamphetamines, need to be instead modelled for
missing most of its the AI – so as to be seen as
animations... “realistic” and/or “fair” as per the
expectations of the genre.

70. E3 DEMO AS AN EXAMPLE
AI that jumps around Developers tend to forget that
like it's playing a various aspects are already
game of Quake on “modelled” for the player, and
methamphetamines, need to be instead modelled for
missing most of its the AI – so as to be seen as
animations... “realistic” and/or “fair” as per the
expectations of the genre.
...runs non-stop, has
perfect aim, can turn 180
in a millisecond, never
appears to reload or stop
firing their gun... is
frustrating for the
player, not a challenge
for the player.

71. E3 DEMO AS AN EXAMPLE

72. E3 DEMO AS AN EXAMPLE
Without these missing front-
end elements, the AI
“readability” was zilch;
failing to communicate its
complexity and
sophistication to the player.

73. E3 DEMO AS AN EXAMPLE
The AI eventually came to Without these missing front-
have a diverse range of end elements, the AI
animations, movement – “readability” was zilch;
walking, crouched, failing to communicate its
reloading – correct complexity and
sounds, and a range of sophistication to the player.
mannerisms and tactics...

74. E3 DEMO AS AN EXAMPLE
The AI eventually came to Without these missing front-
have a diverse range of end elements, the AI
animations, movement – “readability” was zilch;
walking, crouched, failing to communicate its
reloading – correct complexity and
sounds, and a range of sophistication to the player.
mannerisms and tactics...
...it would seek and use
cover (rocks, trees,
stumps, crates) for defence
and offence. It would even
appear to communicate and
co-ordinate attacks with
other AIs. All at a much
slower (tactical) pace

75. E3 DEMO AS AN EXAMPLE

76. E3 DEMO AS AN EXAMPLE
The AI model's textures,
animations and sounds; are
actually communicating to
you various system states.
So they're actually part of
the user-interface, enabling
the player to interact with
the game – via a keyboard,
mouse or controller.

77. E3 DEMO AS AN EXAMPLE
The AI model's textures, These can tell you
animations and sounds; are what they are doing –
actually communicating to giving a flanking
you various system states. order. Whether
So they're actually part of they're angry,
the user-interface, enabling whether they're hurt.
the player to interact with
the game – via a keyboard,
mouse or controller.

78. E3 DEMO AS AN EXAMPLE
The AI model's textures, These can tell you
animations and sounds; are what they are doing –
actually communicating to giving a flanking
you various system states. order. Whether
So they're actually part of they're angry,
the user-interface, enabling whether they're hurt.
the player to interact with
the game – via a keyboard,
mouse or controller. Everything outputted from
the screen and speakers
makes up the user-
interface! It is not just
the graphical on-screen
heads-up display (HUD)
that solely comprises the
output of the interface.

79. E3 DEMO AS AN EXAMPLE

80. E3 DEMO AS AN EXAMPLE
However, even with
HD and next-gen
graphics. We are
still limited in
what we can visually
achieve via a screen
and input devices –
not to mention audio
via speakers.

81. E3 DEMO AS AN EXAMPLE
However, even with
HD and next-gen
graphics. We are
still limited in
what we can visually
achieve via a screen
and input devices –
not to mention audio
via speakers.
Without these binoculars, this
obscured and crouched enemy
may have been just another
blurry few pixels in the distance.

82. E3 DEMO AS AN EXAMPLE

83. E3 DEMO AS AN EXAMPLE
The addition of
gunfire trails /
tracers, and muzzle
flashes – as well as
damage direction
indicators. Aided the
player in determining
where and who was
actually attacking
him – no matter how
far away. A
relatively simple fix
and use of the
existing particle and
shading systems.

84. E3 DEMO AS AN EXAMPLE
The addition of
gunfire trails / Developers forget that
tracers, and muzzle game-worlds are not the
flashes – as well as real-world, no matter how
damage direction great our graphic fidelity
indicators. Aided the seems in portraying them.
player in determining We need to give players
where and who was concessions so they can
actually attacking interact with the game.
him – no matter how What shape and form
far away. A depends on the game,
relatively simple fix and depends on the
and use of the technology and hardware
existing particle and that is powering it.
shading systems.

85. THE FIRST PLAYABLE

86. THE FIRST PLAYABLE
Your first gameplay demo
may not necessarily have
complete systems...

87. THE FIRST PLAYABLE
Your first gameplay demo
may not necessarily have The indoors did not
complete systems... natively support the
AI. There were also
issues with production
pipelines and the
reliability of indoor
technologies – like
the dynamic lighting
and shadows.

88. THE FIRST PLAYABLE
Your first gameplay demo
may not necessarily have The indoors did not
complete systems... natively support the
AI. There were also
issues with production
pipelines and the
For the demo we reliability of indoor
scripted much of technologies – like
the indoor AI and the dynamic lighting
made sure to stick and shadows.
to a linear path;
we also relied on a
more stable use of
the technology –
even if more bland.

89. THE FIRST PLAYABLE
Your first gameplay demo
may not necessarily have The indoors did not
complete systems... natively support the
AI. There were also
issues with production
pipelines and the
For the demo we reliability of indoor
scripted much of technologies – like
the indoor AI and the dynamic lighting
made sure to stick and shadows.
to a linear path;
we also relied on a
more stable use of FYI: the present industry
the technology – nomenclature for a polished
even if more bland. first playable is vertical-slice.

90. THE FIRST PLAYABLE

91. THE FIRST PLAYABLE
You may not have all the
game & mission mechanics
in place, but, implement as
much as necessary so as to
give the impression to the
player that you do...

92. THE FIRST PLAYABLE
The generic combat
behaviours of the AI
were good, but, lacked
some of the more
interesting behaviours
– such as squad
dynamics. In this case
You may not have all the a squad on being shot
game & mission mechanics at, has popped smoke,
in place, but, implement as pulled back behind
much as necessary so as to cover, and has called
give the impression to the in air-support.
player that you do...

93. THE FIRST PLAYABLE
Others showcased other
intended game & mission
The generic combat
mechanics of our gameplay; behaviours of the AI
such as the utilisation of were good, but, lacked
night-vision and lighting, and some of the more
various squad strategies. interesting behaviours
– such as squad
dynamics. In this case
You may not have all the a squad on being shot
game & mission mechanics at, has popped smoke,
in place, but, implement as pulled back behind
much as necessary so as to cover, and has called
give the impression to the in air-support.
player that you do...

94. THE FIRST PLAYABLE

95. THE FIRST PLAYABLE
The demo showed enough
wow features and
interesting aspects to make
it feel like a complete
experience...

96. THE FIRST PLAYABLE
The demo showed enough
wow features and The helicopter is shot
interesting aspects to make down by the player
it feel like a complete using a rocket
experience... launcher, targeted via
its scope. The missile
locks on and whizzes
towards its target no
matter if the aim is
off or if it moves –
leaving a snaking trail
in its wake. It hits,
and the copter trails
black smoke as it
crashes into the base.

97. THE FIRST PLAYABLE
The demo showed enough
wow features and The helicopter is shot
interesting aspects to make down by the player
it feel like a complete using a rocket
experience... launcher, targeted via
its scope. The missile
locks on and whizzes
towards its target no
Hard-coded, hacked, matter if the aim is
scripted. Call it what you off or if it moves –
want, but this sequence leaving a snaking trail
hinted there was more to the in its wake. It hits,
game than just shooting at and the copter trails
guys hiding in the woods and black smoke as it
tossing a few grenades. crashes into the base.

98. THE FIRST PLAYABLE

99. THE FIRST PLAYABLE
We as developers have
a range of tools for
debugging, that tell us
exactly what is and isn't
occurring within our
game system(s).

100. THE FIRST PLAYABLE
We sometimes forget
that filling the
screen with: lines,
shapes, arcane
syntax and sets of
numbers. Does not a
user-interface
make! We may
We as developers have
comprehend it, but
a range of tools for
debugging, that tell us not everyone (if
exactly what is and isn't not most) will.
occurring within our
game system(s).

101. THE FIRST PLAYABLE

102. THE FIRST PLAYABLE
Gameplay is driven by your AI,
and the AI is communicated via
the various game mechanics
(tech) that comprises (or feeds)
your user-interface.

103. THE FIRST PLAYABLE
Gameplay is driven by your AI, The demo should be
and the AI is communicated via relatively polished,
the various game mechanics as it is designed to
(tech) that comprises (or feeds) “sell” to the
your user-interface. audience. So, even
if elements such as
the HUD aren't quite
worked out, perhaps
even unnecessary.
You should still
strive to represent
something that
“might” be mistaken
as the end result.

104. THE FIRST PLAYABLE
Gameplay is driven by your AI, The demo should be
and the AI is communicated via relatively polished,
the various game mechanics as it is designed to
(tech) that comprises (or feeds) “sell” to the
your user-interface. audience. So, even
if elements such as
A good rule: if it the HUD aren't quite
doesn't break worked out, perhaps
“suspension-of- even unnecessary.
disbelief” (immersion), You should still
then it can be safely strive to represent
left as is. If it does, something that
then it needs to be “might” be mistaken
addressed some way! as the end result.

105. THE FIRST PLAYABLE

106. THE FIRST PLAYABLE
When creating your game's AI,
don't just focus on recreating
what everyone else has done.
Don't just create the “core”
gameplay. Ask yourself: what
are the things that bug you the
most in the similar titles you've
played? Ask a similar question
about all your game systems.

107. THE FIRST PLAYABLE
When creating your game's AI,
don't just focus on recreating
For instance, what everyone else has done.
making the AI take Don't just create the “core”
cover when a bullet gameplay. Ask yourself: what
whizzes past their are the things that bug you the
head, or, a comrade most in the similar titles you've
“mysteriously” played? Ask a similar question
dies; is so simple about all your game systems.
to implement yet
added so much to
the believability
of the AI's
intelligence.

108. THE FIRST PLAYABLE
When creating your game's AI,
don't just focus on recreating
For instance, what everyone else has done.
making the AI take Don't just create the “core”
cover when a bullet gameplay. Ask yourself: what
whizzes past their are the things that bug you the
head, or, a comrade most in the similar titles you've
“mysteriously” played? Ask a similar question
dies; is so simple about all your game systems.
to implement yet
added so much to
Modelling such aspects for the
the believability
AI's hearing as well as sight. Can
of the AI's add a great deal of “intelligence”
intelligence. to the AI's believability and
perceived challenge.

109. THE MIDDLEWARE PATH

110. THE MIDDLEWARE PATH
Epic's Unreal 3 engine; one
of the most licensed if not
the most licensed. Who
wouldn't want that?!

111. THE MIDDLEWARE PATH
• Aspiring to be a technology
middleware provider, is one
reasoning for not creating
tech the right way – by
making use of it in a
functional manner within a
quality title.
• It is seen as less hard-work,
perhaps more innovative,
important, potentially Tech 5 engine
lucrative and prestigious.

112. THE MIDDLEWARE PATH
• Aspiring to be a technology
middleware provider, is one
reasoning for not creating
tech the right way – by
making use of it in a
functional manner within a
quality title.
• It is seen as less hard-work,
perhaps more innovative,
important, potentially Tech 5 engine
lucrative and prestigious.
We are a technology graphics obsessed and driven
industry. Many studios with the advent of middleware
solutions becoming popular, have middleware aspirations.

113. THE MIDDLEWARE REALITY
• Without the development
context a title gives, there is no
pressure placed on tech to be
robust – bug free and complete.
• We would even find that the
fundamentals, the architecture
of our tech is flawed,
undermining further functionality
that can be achieved with it.
Jupiter engine

114. THE MIDDLEWARE REALITY
• Without the development
context a title gives, there is no
pressure placed on tech to be
robust – bug free and complete.
• We would even find that the
fundamentals, the architecture
of our tech is flawed,
undermining further functionality
that can be achieved with it.
Jupiter engine
No one (or not enough to be profitable) will licence your
technology if it has not been proven in a commercially successful
title. Otherwise it is seen as risky, and rightly so if you are not an
experienced middleware developer; as experienced developers
are not stupid! They want proven technology and solid support.

115. THE MIDDLEWARE REALITY
• You will have to sell 30-60 licenses
– or more depending on pricing –
just to breakeven; and this may not
cover ongoing costs to support the
tech and your customer’s projects.
• There are many established and
reputable providers, that have
competitive tech, pricing and
support – utilised in numerous
successful titles – that you will Gamebryo engine
have to compete with.

116. THE MIDDLEWARE REALITY
• You will have to sell 30-60 licenses
– or more depending on pricing –
just to breakeven; and this may not
cover ongoing costs to support the
tech and your customer’s projects.
• There are many established and
reputable providers, that have
competitive tech, pricing and
support – utilised in numerous
successful titles – that you will Gamebryo engine
have to compete with.
Ask yourself: is your tech really good enough? Is it competitive in
way of features? Is it competitive in graphical quality and finesse?
Code-base complete and robust? Support the right platforms? Is
it competitive in pricing? How about customer support and tools?
In the middleware market, can you find a profitable “niche”?.

117. THE MIDDLEWARE REALITY
Unity 3D engine
You never know who is waiting around the
corner with more competitive technology, or
more appealing technology; that has been
showcased in a successful commercial title/s!.

118. THE MIDDLEWARE REALITY
For instance, maybe not 100%
proven in a commercial title
(perhaps in other apps) but
competitive in development
environment (Mac / PC),
versatile technology and tools,
support, platforms (Wii,
iPhone, Web), and in cost.
Unity 3D engine
You never know who is waiting around the
corner with more competitive technology, or
more appealing technology; that has been
showcased in a successful commercial title/s!.

119. THE MIDDLEWARE REALITY
UPDATED

120. THE MIDDLEWARE REALITY
UPDATED
Marketing / Business (and
economic) nimrods, usually
espouse finding a niche for your
products / services. Of course, a
niche in a small (niche) market,
isn't a very big market share. A
niche in a large market, is a much
larger (profitable) market share.

121. THE MIDDLEWARE REALITY
UPDATED
Marketing / Business (and
economic) nimrods, usually
espouse finding a niche for your
products / services. Of course, a
niche in a small (niche) market,
isn't a very big market share. A
niche in a large market, is a much
larger (profitable) market share.
As an example, what for Valve in way of
technology was the bigger long-term pay off?
It's Source middleware solution, or, Steam
digital content distribution system?

122. THE MIDDLEWARE REALITY
UPDATED
Roboblitz (Naked Sky)

123. THE MIDDLEWARE REALITY
UPDATED
Here's another example: Roboblitz.
I bring it up, but, not because it
utilises the Unreal 3 engine...
Roboblitz (Naked Sky)

124. THE MIDDLEWARE REALITY
UPDATED
Here's another example: Roboblitz.
I bring it up, but, not because it
utilises the Unreal 3 engine...
It's because
Roboblitz utilises
a technology to
procedurally
generate textures
– which implies
dynamic uses in
the future. Roboblitz (Naked Sky)

125. THE MIDDLEWARE REALITY
UPDATED
Allegorithmic

126. THE MIDDLEWARE REALITY
UPDATED
The (licensed) technology is
called substance Air, developed
by Allegorithmic. With it, instead
of Roboblitz being hundreds of
megabytes in size, it came in
under 50mb – the limit for XBLA.
Allegorithmic

127. THE MIDDLEWARE REALITY
UPDATED
This is an example of middleware finding a
niche within a large market; where it has few
competitors, and, seeks to “compliment” what
the established middleware providers have to
offer – not do one better than (“me too”).
The (licensed) technology is
called substance Air, developed
by Allegorithmic. With it, instead
of Roboblitz being hundreds of
megabytes in size, it came in
under 50mb – the limit for XBLA.
Allegorithmic

128. THE MIDDLEWARE REALITY
UPDATED
Scaleform's technologies, is
another example of
middleware finding a big
niche. They focused on an
area of game development
that most developers were
weak at. What they decided
to tack on as an after
thought, the game interface
– menu UIs, HUDs, etc.
Used in many titles, it is
also supported by a core
group of 3D engine
middleware providers.

129. THE MIDDLEWARE REALITY
UPDATED
Scaleform's technologies, is
another example of
This middlware middleware finding a big
niche. They focused on an
provides developers
area of game development
a powerful solution that most developers were
for easily creating weak at. What they decided
high-quality to tack on as an after
customisable Flash- thought, the game interface
like interfaces for – menu UIs, HUDs, etc.
their titles, among Used in many titles, it is
other uses. That's also supported by a core
a big niche! group of 3D engine
middleware providers.

130. THE MIDDLEWARE REALITY
UPDATED
Torque 3D (Garage Games)

131. THE MIDDLEWARE REALITY
UPDATED
Torque 3D (Garage Games)

132. THE MIDDLEWARE REALITY
UPDATED
Torque 3D (Garage Games)

133. THE MIDDLEWARE REALITY
UPDATED
After completing the first version
of this web presentation. I
realised that I was missing one
middleware engine that has
been around for yonks, and
some would say is iconic. Since
I mentioned other engines, I
thought I'd mention this one as
well – fair is fair...
Torque 3D (Garage Games)

134. THE MIDDLEWARE REALITY
UPDATED
After completing the first version
of this web presentation. I
realised that I was missing one
middleware engine that has
been around for yonks, and
some would say is iconic. Since
I mentioned other engines, I
thought I'd mention this one as
well – fair is fair...
Really, there are so many middleware “solutions”
out there; just too many of them to warrant a
mention here – that's not its purpose.
Torque 3D (Garage Games)

135. THE MIDDLEWARE REALITY
UPDATED
But I can mention the Torque After completing the first version
3D engine, that has a range of of this web presentation. I
solutions for 2D or 3D, for PC realised that I was missing one
or iPhone. I can also mention middleware engine that has
Brett Seyler's interesting take been around for yonks, and
on the middleware landscape: some would say is iconic. Since
I mentioned other engines, I
garagegames.com/community/ thought I'd mention this one as
blogs/view/15952 well – fair is fair...
Really, there are so many middleware “solutions”
out there; just too many of them to warrant a
mention here – that's not its purpose.
Torque 3D (Garage Games)

136. THE MIDDLEWARE COST
Far Cry's indoor engine, was a
bottleneck when it came to
creating content and testing it.
Sure it looked great (eventually),
but it did not natively support the
sophisticated outdoor AI
behaviours. Rather, it was all
tediously scripted.

137. THE MIDDLEWARE COST

138. THE MIDDLEWARE COST
The outdoor engine, even with
the known competitors, was the
draw-card in way of graphical
appeal. Able to support large
nonlinear sandbox environments,
rich with lush organic vegetation
along with man-made structures.

139. THE MIDDLEWARE COST

140. THE MIDDLEWARE COST
And an AI, capable of squad
dynamics, that used its
features well to provide the
player with a unique tactical
playing experience.

141. THE MIDDLEWARE COST
And an AI, capable of squad
dynamics, that used its Indoor could have
features well to provide the been supplemented
player with a unique tactical with simpler
playing experience. structures rendered
via the outdoor
technology. Making
it natively
supported by the
AI. This could have
been an ideal
solution in meeting
the game's vision.

142. THE MIDDLEWARE COST
And an AI, capable of squad
dynamics, that used its Indoor could have
features well to provide the been supplemented
player with a unique tactical with simpler
playing experience. structures rendered
via the outdoor
technology. Making
it natively
supported by the
And such “indoor” AI. This could have
structures, needn't be been an ideal
small, but could be in solution in meeting
the form of sprawling the game's vision.
complex facilities.

143. THE MIDDLEWARE COST

144. THE MIDDLEWARE COST
The resources and time spent
making the indoors work for
the title, for middleware
ambitions. May have been
better utilised on other aspects
of the game. It may of even
lead to a more tighter, and
higher quality, gaming
experience. Instead it lead to
delays, relationship strains,
and a lack of polish in way of
effective use of technology in
creating gameplay (in my
humble opinion).

145. THE MIDDLEWARE COST

146. THE MIDDLEWARE COST
Far Cry prior to
E3, ran the serious
risk of getting
canned! There were
many competing
titles out there
already, with
similar technology
and with clear
gameplay – if
rudimentary at the
time (e.g. Stalker:
Oblivion Lost).

147. THE MIDDLEWARE COST
Far Cry prior to
E3, ran the serious
risk of getting
canned! There were
many competing
titles out there
already, with
similar technology
and with clear
And they had no middleware gameplay – if
aspirations, they just wanted to rudimentary at the
make a great game foremost! time (e.g. Stalker:
Many had achieved quite a lot Oblivion Lost).
without a publishing deal, yet Far
Cry had yet to prove it could
achieve the basics with one.

148. THE MIDDLEWARE COST
Reality engine

149. THE MIDDLEWARE COST
The middleware
landscape is
littered with the
dead. Yes, some do
make it. But you
must really
evaluate why that
is so; what they
offer that their
competitors do not.
Reality engine

150. THE MIDDLEWARE COST
The middleware
landscape is
littered with the
dead. Yes, some do
Prior to the release of Crysis, make it. But you
Crytek admittedly stated that must really
they had only sold less than a evaluate why that
handful of licenses at a low-cost is so; what they
for their CryEngine (Far Cry). offer that their
However, this may have finally competitors do not.
changed with the release and
success of Crysis and the
availability of their CryEngine 2.
Reality engine

151. MY STARK CONCLUSION
TECH alone does not make a game!
• Technology does not create gameplay, it is how you use
it. Consumers are more savvy today, and want quality of
experience, not just better graphics.
TECH alone is not profitable!
• Even middleware providers must showcase their tech in a
commercially successful title – either doing this
themselves or via a licensee's efforts.

152. MY STARK CONCLUSION
TECH alone does not make a game!
• Technology does not create gameplay, it is how you use
it. Consumers are more savvy today, and want quality of
experience, not just better graphics.
TECH alone is not profitable!
• Even middleware providers must showcase their tech in a
commercially successful title – either doing this
themselves or via a licensee's efforts.
Ask yourself: do you want to make interactive-entertainment
titles, or, interactive-entertainment technology?.

153. MY STARK CONCLUSION

154. MY STARK CONCLUSION
Tech can always be
licensed for your
title, and does not
need to be “cutting-
edge” but merely
competitive for the
genre, and
competitively utilised.

155. MY STARK CONCLUSION
I'm not against developing
tech, quite frankly as an
industry, we need too! But if
you wish to be a middleware
Tech can always be
developer, you'll have to ask
licensed for your yourself some tough
title, and does not questions, and demand
need to be “cutting- tough answers of yourself –
edge” but merely perhaps confronting ones.
competitive for the And remember what you'll
genre, and still have to deliver on, in
competitively utilised. order to do so!

156. MY STARK CONCLUSION
Source engine

157. MY STARK CONCLUSION
A title with a cohesive and singular
vision; with a spark of originality and
innovative use of technology. What this
entails, will largely depend upon the
target genre's context, and, the market's
current (as well as projected) expectations
– what you can and can't get away with.
Source engine

158. MY STARK CONCLUSION
A title with a cohesive and singular
vision; with a spark of originality and
innovative use of technology. What this
entails, will largely depend upon the
target genre's context, and, the market's
current (as well as projected) expectations
– what you can and can't get away with.
Remember: focus on interactivity foremost, and give your
Source engine
technology a functional purpose – "function before form”.