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Date: 2005.04.07 11:01:18
+08'00'
Game Interface
Design
Brent Fox
© 2005 by Thomson Course Technology PTR. All rights reserved. No part of this book may be reproduced
or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without written permission from Thomson Course
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ISBN: 1-59200-593-4
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Proofreader:
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For my wife Amy, a beautiful and intelligent woman.
Without her support and patience, I would not be the person I am today.
Acknowledgments
M
any people worked hard
to make this book possible. Steve Taylor helped
immensely with the content; he provided technical information and even
some early editing. I thank my editor,
Estelle Manticas, for the many hours
she spent helping me through the
writing process. Thanks to Les
Pardew, my technical editor and an
all around good guy. Also, thanks
go to Emi Smith and the entire team
at Premier Press, who not only provided the opportunity to write this
book, but also shared their expertise
with me.
I also want to give a special thanks to
my family for their patience while I
spent many hours away from them
working on this book.
About the Author
B
rent Fox worked his way
through college as an art
director for a package design
company. While in college, he took a
class in 3D animation and was
hooked. Brent received his degree
in Graphic Design from Brigham
Young University, and shortly after
graduation he began creating video
games. He has worked in the video
game industry for more than eight
years, and he has worked on games
for a wide variety of platforms.
His title list includes games on the
PC, Game Boy Color, PlayStation,
Nintendo 64, Dreamcast, PlayStation
2, and GameCube.
Brent has not only created art for the
games he has worked on, but he has
also served as project manager and art
director on many other games as well.
He has managed development teams
with up to 28 team members. He has
created artwork for games published
by Blizzard, EA, Midway, 3DO, and
Konami, just to name a few. His published title list includes games such as
Brood War (a Starcraft expansion set),
Army Men: Sarge’s Heroes, and many
more.
Contents at a Glance
Introduction ..............................................................................................................xv
Chapter 1
Introduction to Video Games....................................................................................1
Chapter 2
Planning Menu Flow..................................................................................................7
Chapter 3
The Look and Feel of Your Interface......................................................................27
Chapter 4
Basic Design Principles .............................................................................................43
Chapter 5
Console or PC? .........................................................................................................61
Chapter 6
Button States............................................................................................................73
Chapter 7
Creating a Focal Point .............................................................................................81
Contents at a Glance
vii
Chapter 8
Using Text in Your Interface....................................................................................87
Chapter 9
Technical Requirements and Tricks .........................................................................99
Chapter 10
Tools of the Trade ..................................................................................................113
Chapter 11
Using Animation ....................................................................................................125
Chapter 12
Icons, Icons, Icons ...................................................................................................139
Chapter 13
Designing the HUD ................................................................................................145
Chapter 14
Designing an Interface ..........................................................................................155
Chapter 15
Creating an Interactive Mock-Up..........................................................................179
Index .......................................................................................................................199
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
Chapter 1
Introduction to Video Games . . . . . . . . . . . . . . .1
The Importance of the Interface . . . . .
Real-Life Game Development . . . . . . .
Working with a Team . . . . . . . . . . . . .
Listen to Others . . . . . . . . . . . . .
Ask Questions . . . . . . . . . . . . . . .
A Career in Video Games . . . . . . . . . . .
The Publisher / Developer Relationship
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Chapter 2
Planning Menu Flow . . . . . . . . . . . . . . . . . . . . . .7
Why Is Planning So Valuable? . . . . . . .
Creativity in Planning . . . . . . . . . . . . .
Getting Approval . . . . . . . . . . . . . . . . .
Interface Planning Helps Game Design
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Game Design Goals . . . . . . . . . . . . . . . . . . . .
Possible Game Goals . . . . . . . . . . . . . . .
Breaking Down Your Goal into Specifics
How Priorities Affect Decision-Making .
Charting Methods . . . . . . . . . . . . . . . . . . . . .
Button Types . . . . . . . . . . . . . . . . . . . . . . . . .
Sliders . . . . . . . . . . . . . . . . . . . . . . . . . .
Toggle Switches . . . . . . . . . . . . . . . . . . .
Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Input Text . . . . . . . . . . . . . . . . . . . . . . .
Drop-Down Menus . . . . . . . . . . . . . . . .
Other Variations . . . . . . . . . . . . . . . . . .
Common Menu Screens . . . . . . . . . . . . . . . . .
Simplicity versus Depth . . . . . . . . . . . . . . . . .
Planning for HUD . . . . . . . . . . . . . . . . . . . . .
Creativity versus Conventional Methods . . . .
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Contents
Chapter 3
The Look and Feel of Your Interface . . . . . . . . .27
Define a Look . . . . . . . . . . . . . . . . . .
Create a Mock-Up . . . . . . . . . . .
Working with Logos . . . . . . . . .
Define a Color Scheme . . . . . . .
Express Yourself in the Design . . . . . .
Research and Inspiration . . . . . . . . . .
Make Lists . . . . . . . . . . . . . . . . .
Search for Images . . . . . . . . . . .
Thumbnails . . . . . . . . . . . . . . . . . . . .
Work Quickly . . . . . . . . . . . . . . .
Push for Variation . . . . . . . . . . .
Creativity versus Standards . . . . . . . .
Using Photographs . . . . . . . . . . . . . .
Illustrations . . . . . . . . . . . . . . . . . . . .
3D Solutions . . . . . . . . . . . . . . . . . . . .
Pre-Rendered 2D Art . . . . . . . . .
Involve the Programmers . . . . .
Combining 3D and 2D . . . . . . . .
3D Challenges . . . . . . . . . . . . . .
Don’t Get Too Attached to Your Ideas
Summary . . . . . . . . . . . . . . . . . . . . . .
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Chapter 4
Basic Design Principles . . . . . . . . . . . . . . . . . . . .43
Getting Back to Basics . . . . . .
Really See Your Design .
Using Color . . . . . . . . . .
Creating Color Harmony
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Finding Complementary Colors . . . . . . . . . .
Using More Than Two Colors . . . . . . . . . . .
Subjective Color . . . . . . . . . . . . . . . . . . . . .
Balancing Color Strength . . . . . . . . . . . . . .
Warm and Cold Colors . . . . . . . . . . . . . . . .
Color on a Monitor or TV . . . . . . . . . . . . . .
Creating Digital Colors . . . . . . . . . . . . . . . .
Visual Organization . . . . . . . . . . . . . . . . . . . . . . .
Unity and Variation . . . . . . . . . . . . . . . . . . . . . . .
Negative Space . . . . . . . . . . . . . . . . . . . . . . . . . .
Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Eye Movement . . . . . . . . . . . . . . . . . . . . . .
Balance and Weight . . . . . . . . . . . . . . . . . . . . . .
Unbalancing Your Design to Create Tension
Odd Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Dividing an Image . . . . . . . . . . . . . . . . . . . . . . . .
Intersections . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 5
Console or PC? . . . . . . . . . . . . . . . . . . . . . . . . . .61
Bad Conversions . . . . . . . . . . . . . . . . . .
Console Development . . . . . . . . . . . . .
Console Hardware Manufacturers
Developer Approval . . . . . . . . . .
Concept Approval . . . . . . . . . . . .
Technical Approval . . . . . . . . . . .
Console Game Cost . . . . . . . . . . .
Effect on the Interface . . . . . . . .
Handheld Development . . . . . . . . . . . .
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x
Contents
PC Development . . . . . . . . . . . . . . . . . . . . .
Minimum Requirements for PC Games
The Controller . . . . . . . . . . . . . . . . . . . . . . .
Getting the Timing Right . . . . . . . . . .
Limiting Buttons . . . . . . . . . . . . . . . . .
Displaying Navigation Information . . .
The Mouse . . . . . . . . . . . . . . . . . . . . . . . . . .
Keep the Design Simple . . . . . . . . . . .
Image-Based Interfaces . . . . . . . . . . . .
Resolution . . . . . . . . . . . . . . . . . . . . . . . . . .
PC Game Resolution . . . . . . . . . . . . . .
Front-End Menu Resolution . . . . . . . .
Standard TV Resolution . . . . . . . . . . .
PAL versus NTSC Television . . . . . . . . .
TV Color . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Interlace Flicker . . . . . . . . . . . . . . . . . .
Color Variation . . . . . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chapter 6
Button States . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Controller Button States . . . . . . . . . . .
The Standard Button State . . . . .
The Selected Button State . . . . .
The Pressed Button State . . . . . .
The Active Button State . . . . . . .
The Active-Selected Button State
The Disabled Button State . . . . .
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PC Button States
Other States . . . .
Animated States
Workload . . . . . .
Saving Time
Audio . . . . . . . . .
Summary . . . . . .
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Chapter 7
Creating a Focal Point . . . . . . . . . . . . . . . . . . . .81
The Most Important Element
Size Variation . . . . . . . . . . . .
Color . . . . . . . . . . . . . . . . . .
Value . . . . . . . . . . . . . . . . . .
Movement . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . .
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.81
.83
.84
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.85
.86
Chapter 8
Using Text in Your Interface . . . . . . . . . . . . . . .87
Using Text Wisely . . . . . . . . . . .
Type Anatomy . . . . . . . . . . . . .
Serif versus Sans-Serif . . .
Ascenders and Descenders
Uppercase and Lowercase
Points and Picas . . . . . . . .
File Size and DPI . . . . . . .
Kerning . . . . . . . . . . . . . .
Thicks and Thins . . . . . . .
Scaling Fonts . . . . . . . . . .
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.87
.88
.88
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.90
.90
.91
.92
.92
.93
Contents
Font Choice . . . . . . . .
Theme Fonts . . .
Multiple Fonts . .
Know Your Fonts . . . .
Creating a Game Font
Icons in Fonts . . . . . . .
Font Effects . . . . . . . .
Summary . . . . . . . . . .
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.93
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Chapter 9
Technical Requirements and Tricks . . . . . . . . . .99
File Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Limited RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Disk Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Load Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Online Content . . . . . . . . . . . . . . . . . . . . . . . . . .102
File Compression . . . . . . . . . . . . . . . . . . . . . . . . .102
Using Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Using Programmer Art . . . . . . . . . . . . . . . . . . . .105
Texture Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Scalable Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Tiling Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Localization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Source Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
xi
Chapter 10
Tools of the Trade . . . . . . . . . . . . . . . . . . . . . .113
Tools for Creating Mock-Ups . . . . . . . . . . . . . .
Asset Management . . . . . . . . . . . . . . . . . . . . .
Adjusting Game Properties . . . . . . . . . . . . . . .
Using Custom Tools . . . . . . . . . . . . . . . . . . . . .
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . .
Stand-Alone Software . . . . . . . . . . . . . . .
In-Game Tools . . . . . . . . . . . . . . . . . . . . .
Advantages of Using Custom Tools . . . . . . . . .
Disadvantages of Using Custom Tools . . . . . . .
Commercial Tools . . . . . . . . . . . . . . . . . . . . . . .
Advantages of Using Commercial Tools .
Disadvantages of Using Commercial Tools
Middleware . . . . . . . . . . . . . . . . . . . . . . . . . . .
Commonly Used Commercial Software . . . . . .
Features of Good Tools . . . . . . . . . . . . . . . . . .
The Ideal Situation versus Reality . . . . . .
Software or the Artist? . . . . . . . . . . . . . . . . . .
3D Tools . . . . . . . . . . . . . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.123
.124
Chapter 11
Using Animation . . . . . . . . . . . . . . . . . . . . . . .125
Movement . . . . . . . . . . . . .
How Animation Works . . .
Frame Rate . . . . . . . .
Interface Frame Rates
Key Frames and Tweening .
Interpolation . . . . . . .
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.125
.125
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xii
Contents
Animation Principles . . . . . . . . . . . .
Squash and Stretch . . . . . . . . .
Anticipation . . . . . . . . . . . . . .
Ease In and Ease Out . . . . . . . .
Follow Through . . . . . . . . . . . .
Arcs . . . . . . . . . . . . . . . . . . . . .
Exaggeration . . . . . . . . . . . . . .
Designing Transitions . . . . . . . . . . . .
Consider Experienced Users . .
Properties That Can Be Animated . .
Translation, Rotation, and Scale
Transparency and Color . . . . . .
Using Effects . . . . . . . . . . . . . . . . . .
Overlaid Animations . . . . . . . .
Particle Systems . . . . . . . . . . . .
Other In-Game Effects . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . .
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.138
Chapter 12
Icons, Icons, Icons . . . . . . . . . . . . . . . . . . . . . . .139
Use Text Sparingly . . . . . . . . . .
Budget Constraints . . . . .
Using Icons Instead of Text . . .
Image Choice . . . . . . . . . .
Standard Icons . . . . . . . . .
Non-Game Standard Icons
Every Pixel Counts . . . . . . . . . .
Photo Reference . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . .
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.144
Chapter 13
Designing the HUD . . . . . . . . . . . . . . . . . . . . .145
Screen Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
In-Game Information . . . . . . . . . . . . . . . . . .
Pop-Up Menus . . . . . . . . . . . . . . . . . . . . . . . .
Dynamic Content . . . . . . . . . . . . . . . . . . . . .
Combining Information . . . . . . . . . . . . . . . .
Legibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Eye Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Ease of Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Making HUD Look Cool . . . . . . . . . . . . . . . . . . . . .
Game-Play Adjustments . . . . . . . . . . . . . . . . . . . . .
Graphic Information Display . . . . . . . . . . . . . . . . .
Standard Elements versus Non-Standard Elements
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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.154
Chapter 14
Designing an Interface . . . . . . . . . . . . . . . . . . .155
Nomad Design Goals . . . .
The Rough Sketches . . . . .
Temporary Art . . . . .
Re-Do’s . . . . . . . . . .
Nomad Colors . . . . . . . . .
Using Color as a Tool
Creating the Art . . . . . . . .
Breaking Up the Art
Selected Rows . . . . .
Photoshop Techniques . . .
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.155
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.159
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.163
.163
.167
.167
Contents
Step-by-Step Art Creation . . . . .
The Ship Information Panel
The Trade Dialog Box . . . .
The Big Change . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . .
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.169
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.173
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.178
Chapter 15
Creating an Interactive Mock-Up . . . . . . . . . . .179
The Ideal Situation . . . . . . . . . .
Realizing Your Vision . . . . . . . .
Experimentation . . . . . . .
Commercial Tools . . . . . . . . . . .
Why Flash? . . . . . . . . . . .
Introduction to Flash . . . . . . . .
Using Frames . . . . . . . . . .
Animation in Flash . . . . .
Playback Speed . . . . . . . .
Using Scripting . . . . . . . .
Creating Buttons in Flash
Putting Scripts on Buttons
Seeing Your Button Work
Publishing Files . . . . . . . .
Flash Summary . . . . . . . .
The Sample Flash File . . . . . . . .
Actions on Frames . . . . . .
Actions on Buttons . . . . .
Summary . . . . . . . . . . . . . . . . .
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.198
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
xiii
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Introduction
A
n interface, as you no doubt
already know, is the part of
the game that allows the user
to interact with the game. Interaction
is what makes a video game different
from a movie. When playing a video
game, the user can make choices and
respond to events. An interface is the
connection between the user and the
game, and a well-designed interface
makes the video game experience
more fun.
Interface design is a creative, exciting,
and challenging subject. The purpose
of this book is to introduce you to the
game interface design principles and
concepts used in the game industry.
There is a huge amount of information to learn about interface design,
and I couldn’t hope to cover it all.
This book will, however, cover all of
the basics you need to know in order
to design your own game interface.
An interface has many pieces. This
book will cover the interface from the
first image that appears on the screen
to the information displayed on
screen during game-play. The player
of your game interacts with buttons,
sliders, menus, and many other components of an interface, and this book
will show you how and when to use
each of these input methods.
I hope that this book inspires you to
create better and more effective game
interfaces. You are capable of making
a great, unique interface. Don’t limit
your vision by what has been done in
the past.
Who Should Read This
Book?
If you are just getting started in the
game industry, this book will serve as
a great introduction to interface
design. It will also provide a little
insight into the video game industry
itself.
Game development is a unique and
interesting field. It is fun, rewarding,
and a lot of hard work. In this book
you will get a glimpse at the developer
and publisher relationship, as well as
at the schedules, budget constraints,
and politics that are found in the
video game development industry.
xvi
Introduction
Even if you are an experienced interface designer, this book will provide
hints and tricks that can help you in
your daily tasks. After reading this
book, you will be able to better evaluate the effectiveness of an interface,
and you will be aware of the areas in
which you can improve.
The application of the principles I will
show you in this book will help
improve your design skills. It will also
provide inspiration to go beyond the
norm and create interfaces that captivate and entertain the user.
What’s in This Book?
Great interfaces never happen by accident. They require a lot of planning.
This book will outline the steps to
good planning. You will be encouraged to define goals that will guide
you through the design process and
be shown how to plan and chart your
menus before you begin to create art.
You will learn how to be innovative
and creative in the planning stages of
the design process.
I will also walk you through the early
planning stages for a game interface
and present methods for crafting a
unique look and feel for your interface. Creating icons, animation, and
buttons will be covered.
Basic design and art principles are
essential for any interface designer to
understand. As you read through
these pages, you will learn about these
basic concepts and how they can
guide you through the design process.
You can use these design principles to
effectively evaluate your own design
and identify areas for improvement.
You will begin to understand how
much skill and talent is needed to
produce a great interface. It’s hard
work, but it’s worth it.
In this book, you will also explore
the world of interface buttons. This
simple-sounding topic is actually
very complex. I will explain the concept of button states and teach you
how to make a functioning button for
a game interface. You’ll learn how to
create buttons that are easy to use and
that look cool.
I will also show you how to avoid
using too much text in your interface
and how to replace as much text as
possible with images and icons. This
is not always an easy task, but a good
use of icons can separate an extraordinary interface from a mediocre one.
A screen full of text will turn users
away; learn about methods you can
use to communicate with the user
without text.
Make it move! Animations can be a
game interface designer’s greatest
asset. I’m not just talking about a
spinning logo, but about serious animation. Understanding and applying
solid animation techniques can bring
a static interface to life. Learn these
animation principles and how you
can use them in an interface.
Chapter 14 will walk you through the
step-by-step process of creating an
interface. You will see how an interface is created using Photoshop.
This process will help you understand
how complex serious interface design
can be.
Introduction
In Chapter 15, you’ll learn how to use
Flash to create an interface with real
interactivity. This software provides
an effective method to mock-up and
test a game interface design. Don’t
wait for a programmer to write code
to see your design in action. You can
do it yourself. Learn how to use Flash
to make buttons function and objects
move.
What’s on the CD?
This book also comes with a CD containing images and examples. You will
have access to many of the images in
this book. You will also be able to
open the Flash file created in the last
chapter of the book and see it move.
The CD also includes a free game
demo and trial version of Macromedia Flash.
xvii
This page intentionally left blank
Chapter 1
Introduction to
Video Games
W
elcome to the world of
interface design for video
games. Of course, the
best instruction you can receive is
real-life experience. No matter how
good a game artist is before he begins
developing video games, he learns a
lot during the development process.
Gaining this experience will take time.
In the meantime, I hope to share a little of my experience with you and give
you a head start.
The Importance of the
Interface
Too often, video game interfaces are
an afterthought. Sufficient time is not
scheduled for interface design because
too many project managers assume
anyone can whip up an interface.
They feel that interface design does
not require any particular talent or
very much time, so they assign the
new guy to work on the interface. This
is a big mistake, and when it happens,
it’s apparent to anyone who plays the
game. It isn’t hard for the user to
immediately see poor quality. The
visual quality of a game is very important; it is hard to sell a game if it looks
bad, even if the game-play is fun.
Great art can do amazing things to
boost game sales. Many game publishers claim that their number-one
priority is game-play, but I’ve seen
these same publishers look at a game
and respond with “that looks great,”
even though they never picked up a
controller or mouse. If a game doesn’t
look good, no one may ever play it
and find out if the game-play is good.
Consumers are used to seeing great
art, and they demand high quality in
1
2
Chapter 1
■
Introduction to Video Games
any game they play. Great visuals can
actually make a game more fun to
play.
Even more important than the visual
aspect of interface design is the functionality. A poor interface can ruin the
entire video game experience. The
game experience will be negative if
the user is confused and can’t figure
out how to navigate the front-end
menu or if he can’t understand where
to find information while playing the
game. The more the user has to search
for information and think about how
to play, the less enjoyable the game
becomes. The interface is a vital component of a game and should not be
treated as a component that is unrelated to the game or as an unimportant task.
On the other hand, a great interface
can significantly enhance the experience. A simple-to-use and visually
appealing menu can set the tone for
the game. The first thing that the user
sees when he starts a game is the
front-end menu. A good-looking
interface with a lot of well-designed
features can actually be fun to use and
even seem like a game itself. Have you
ever played around with a quality
“player editor”? Changing character
outfits, hair, skin color, and tattoos
can be a lot of fun. All of this takes
place in the menu. Without ever starting the core game, the user feels like
he is already playing.
Real-Life Game
Development
In this book, I will discuss interface
design for video games under perfect
conditions—if there is no limit on
time or budget. I will assume that you
have been given total creative freedom
and, as the interface designer, you can
make decisions. In an ideal situation,
a producer or designer won’t mandate
that the interface should look like a
previous version of the game (most
likely designed by a less-competent
artist and designer than you) or direct
that the interface must be in his
favorite color. Too often, someone at
your company notes that a competing
game has a hair-color option in the
player editor and demands that your
game must have the same feature. It
then becomes a requirement that this
feature must be implemented exactly
how it was done in the other game.
Another one of my least-favorite
restrictions goes something like, “The
Marketing Department says the game
will sell better if the colors are
brighter.” Who can argue with that?
Artists who are new to video game
development often believe that the
perfect conditions I mentioned might
actually exist. When these conditions
don’t exist at their current company,
they assume that other developers at
other companies have this freedom.
These inexperienced interface designers don’t understand all of the factors
that contribute to final decisions when
developing games. Unfortunately,
total creative freedom is not usually
given to most interface designers.
Because of the restrictions that exist
while making a game, I have rarely finished a game and felt like I had created the very best interface I was capable
of creating. I feel satisfied if it was the
best I could do under the circumstances and restrictions I was given.
Many factors apply to real-life interface design. Time and budget can
greatly affect the amount of effort
that can be applied. The bottom line
is that budgets and schedules may
have been set that may not allow
for full 3D models to be used in the
Working with a Team
interface or for trips to a junkyard to
collect photo references. Although the
extra effort may result in a better
interface, not working under the
restrictions of the game can have disastrous results.
I have worked on many games that
were canceled before they were finished. These games were cancelled for
many reasons—most of them out of
my control. If the game publisher
thinks that they can’t complete the
game within the budget, they have a
decision to make: They can try to
come up with the extra money to
complete the game or they can cut
their losses and cancel the game. A
surprising number of publishers
decided to cancel the game.
Choose your battles and work well
with others. Feedback and direction
can actually make the completed
game better. Sometimes the guys in
charge actually know what they are
talking about! If you are closed to
ideas and suggestions, you may pass
up some really good advice. Your
skills and abilities will be trusted
more as you demonstrate your skills
and you learn more about the game
development process. This will take
time. Telling everyone that you always
know better than they do won’t
inspire others to join your cause (even
if after reading this book you really do
know better).
Don’t be afraid to explain that you
don’t agree with feedback, but make
sure you can explain why. “It will look
better” is not as convincing as offering
the explanation that serif fonts are
hard to read at low resolutions. Don’t
be shy—offer constructive options,
and tactfully point out potential
problems. After a focus group has
found a flaw in the design, you won’t
be very convincing when you try to
explain that you knew it should have
been done differently but didn’t want
to say anything.
Don’t ever let these real-world limitations keep you from designing amazing interfaces, though. Let them serve
as a challenge. Learn to work your
best under these conditions. They
aren’t an excuse for poor design—if
you really are good, you can still create great interfaces.
I have worked on games with very
small budgets. One such game is on
the CD that comes with this book. On
3
this game, we had to make some careful decisions about what to leave out
and what to add. If we had had a bigger budget and more time, I would
have done many things differently. I
am proud of this game, not because it
is the best game in the world, but
because it was made really quickly by
a few artists and programmers. It still
is very fun, and it got some great
reviews.
Working with a Team
Video game development requires a
team effort. This is especially true
with the really cool, big-budget
games. While there may be few examples of a group of three or four people
who make an entire game, these are
rare exceptions, and it is often evident
in the final product if a full team did
not work on the game. The triple-A
blockbuster games often involve
amazingly large teams. The members
of these big teams must learn to work
well with one another.
Often, problems occur during game
development because team members
just can’t get along. Fighting and
arguing can cause just as many problems as incompetence. Because of
4
Chapter 1
■
Introduction to Video Games
this, putting 20 people who do not
work well together on the same team
may not be twice as effective as
putting 10 people together who do.
On the other hand, putting 20 people
who work really well together on the
same team can produce more than
twice the results of a 10-person team.
Cooperation is key.
Listen to Others
You may actually be right. You might
even know more than the decisionmakers. Your ideas may be better. But
this doesn’t mean that you should
argue. Express your opinion politely
when it is appropriate to do so. If you
have an “I’m right, you’re wrong” attitude, you won’t get far.
Whether you have the authority over
your co-workers or they have the ability to enforce their ideas, the best thing
you can do is listen. Take the time to
listen to their ideas and seriously consider what they are telling you. The
best game and interface designers are
not afraid to change things if they
come across a better idea. They are
able to recognize good ideas, even if
the ideas are not their own.
Ask Questions
If someone has an idea that you think
is wrong, the best thing to do is ask
questions. Good questions require a
lot of thought and effort on your part.
These questions can demonstrate that
you understand their point of view.
Try to get all of the information you
can. Make sure you completely understand the opposing point of view
before you offer your suggestion. If
you feel that an idea has flaws, politely ask if the person you are talking to
has considered these problems. They
may have a solution to the problems
that they just have not described well.
Or they may see the flaws and change
their mind without an argument.
I once worked with a great game
designer who was really good at this.
Everyone liked him, and no one was
afraid to approach him with a suggestion. The great thing was that when he
made a decision, he was usually right.
If anyone disagreed, he would talk
things through with them and ask a
lot of questions, like: “Have you
thought about . . .” or “Why do you
think that it would be better to do it
that way?” Because of his great communication skills, everyone came out
of the conversation understanding
why he made his decision, even if they
did not agree with it.
The bottom line is that working in a
team is essential for game development. Don’t be a problem in the game
development process. Even if you are
talented, you need to work well in a
team.
A Career in Video
Games
Reading about the potential obstacles
may make video game development
sound like a terrible experience. In
reality, making video games is great! It
is not easy, but that’s one of the reasons it’s so rewarding. If it were easy,
anyone could do it.
The game industry is not easy to
break into. The best way to get into
the industry is to be really good. You
will also need to be able to demonstrate how good you are. This is why a
good portfolio is key. Having a great
portfolio is essential to getting your
first job in the game industry.
Interface design is important when
developing games, but only big studios
The Publisher / Developer Relationship
can afford to have an interface expert
who spends all of his time creating
interfaces. It may be harder to land a
job at these bigger developers because
they have more experienced artists
who are applying for the same job.
The way to combat this problem is to
diversify. Make sure you have other
skills that can be used when developing video games. Smaller development studios may have the same guy
designing the interface and building
3D models. If you are trying to break
into the industry as an interface
designer, you might want to choose
another area of game development
and develop these skills along with
your interface design skills.
I was lucky that a discerning art director saw my potential. When I think
back to my portfolio when I first
graduated from college and started
looking for a job, I am not sure that I
would have hired myself! I worked my
way through college at a company
that did packaging. I was hired just as
the company was creating a Design
department. By the time I graduated,
I had been promoted to the Art
Director position. This management
experience is what helped me get my
first job in the game development
industry. I found a company that was
looking for someone to fill the role of
art lead. I had more than just art
skills, and that is why I got the job.
You should do something you love for
a living. The best artists are the ones
who have a passion for making great
art and great games. The game industry is too demanding if you don’t love
it. It is very rewarding to see your
game on the shelf in a store, but it is
not easy to get it there. Many late
nights must be spent and tedious
tasks must be completed during the
game-development process. If the
process is not fun and rewarding for
you, it will be hard to push through
the tough spots.
I always get a good reaction when I
tell teenagers what I do for a living,
but I don’t always get the same enthusiastic response from their parents.
Many people assume that because
some video games contain offensive
material, all games are bad. This is
tantamount to declaring that all
movies are bad because some movies
are violent. If you plan on working in
the game industry, it is a good idea to
decide early on what you are and
5
aren’t willing to work on. A wide variety of games exist, from those that
involve pornography and gambling to
religious and educational games. If
you want to work on a particular type
of game, it is a good idea to develop a
portfolio that fits with the kind of
game you want to make.
After you have broken into the industry, you should continue to build your
portfolio. Improve your skills and
find a way to prove you can do the
job. The most important thing for
your next job is your title list. The
most important game on your title list
is the last one you worked on. Because
games take so long to make, it is not
easy to build this list. The experience
you gain in making a game in invaluable.
The Publisher /
Developer Relationship
Most of my experience has been
developing video games for consoles.
The most common model for console
development is that a game publisher
provides all (or part) of the funding
to develop a game. The publisher also
funds marketing, packaging, and
6
Chapter 1
■
Introduction to Video Games
distribution. Because the publisher is
paying for the game, they have the
final say. The power is in the money.
Publishers often give a developer a
great deal of creative freedom, but
they always have the final say. They
are taking the financial risk and,
therefore, they have the right to get
what they want.
The publisher typically pays for development by giving the developer payments along the development process.
A milestone schedule is created at the
beginning of development that outlines what will need to be completed
for each milestone. The developer
then presents these items to the publisher on the date they are due. If the
publisher approves these milestones,
then they make a payment to the
developer. Because money is tied to
each payment, getting these approvals
from a publisher becomes very
important to the developer.
In this book, I will refer to the publisher/developer relationship often. I
will assume that a publisher is providing funding and that the publisher
makes any final decisions. This is not
always the case. Many independent
game developers fund their own
games and are, in essence, their own
publisher. Many publishers do their
own internal development. Even in
these instances, there is often a person
or group in charge of giving direction
and making final decisions. This person or group fills the role of publisher. Every developer would like to
make these decisions himself, but it is
very expensive to develop a game. The
reality is that most developers do not
have the money to produce the big
budget games on their own dime.
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![ sa-thai-nhan-vien-ban-ve-hanh-hung-hanh-khach-di-xe-buyt](https://media.tintucvietnam.vn/uploads/medias/2018/04/10/1024x1024/sa-thai-nhan-vien-ban-ve-hanh-hung-hanh-khach-di-xe-buyt-bb-baaabPB0Ac.jpg?v=1523318279127)
Chiều tối 9/4, lãnh đạo Công ty Cổ phần vận tải ô tô Đắk Lắk cho biết, đơn vị đã ra quyết định sa thải đối với nhân viên bán vé có hành vi hành hung khách đi xe buýt.
Theo vị lãnh đạo, sự việc xảy ra là do hành khách không tuân thủ các quy định của hành khách khi đi xe buýt. Tuy nhiên, với trách nhiệm của nhân viên, việc xô xát và có hành vi hành hung hành khách là trái với các quy định nên công ty đã quyết định kỷ luật bằng hình thức sa thải đối với Nguyễn Thanh Hiếu.
Cụ thể, theo báo cáo công ty gửi lên Sở GTVT tỉnh Đắk Nông thì nhân viên Nguyễn Thanh Hiếu vào ngày 30/3 đi trên xe buýt BKS: 47B-006.xx khởi hành từ Kiến Đức đi Gia Nghĩa.
Sau khi hành khách lên xe, Hiếu đi bán vé thì có một người khách mặc dù được Hiếu hỏi 3 lần nhưng vẫn không mua mà ngồi làm việc riêng.
Sau đó, Hiếu đi bán vé cho các hành khách khác, đến khi quay lại hỏi người này tiếp tục không chịu mua.
Lúc này, tài xế dừng xe và mời người khách này xuống do không chịu mua vé. Khi đó, người khách đang chửi bới nhân viên bằng những lời lẻ thô tục.
Bức xúc nên Hiếu đã nổi nóng và xảy ra xô xát với hành khách này.
Được biết, Hiếu là nhân viên bán vé xe buýt, vừa mới ký hợp đồng thử việc từ ngày 1/3/2018 (thời gian thử việc 2 tháng). Hiếu được Công ty phân công bán vé xe buýt tuyến Kiến Đức (huyện Đắk R’lấp) – TX. Gia Nghĩa.
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[Triệu tập chủ quán cơm hành hung Việt kiều Mỹ bất tỉnh](https://tintucvietnam.vn/nhom-khach-bi-hanh-hung-tai-cho-da-lat-trieu-tap-chu-quan-com-29243)
Sau khi chụp hình quán cơm mới ăn, nhóm du khách bị nhóm khoảng 6 người hành hung khiến một người bất tỉnh, một người bị thương.
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[Khởi tố vụ án hai bác sĩ bị chồng sản phụ hành hung dã man](https://tintucvietnam.vn/khoi-to-vu-an-2-bac-si-bi-chong-san-phu-hanh-hung-da-man-28579)
Sau sự việc hai bác sĩ bị chồng sản phụ hành hung, ngày 26/2, Cơ quan cảnh sát điều tra Công an TP Yên Bái (Yên Bái), đã ra quyết định khởi tố vụ án hình sự.

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