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  Opinion: Down with Ambition, Less is More
by Reid Kimball on 03/27/09 03:54:00 pm   Expert Blogs   Featured Blogs
5 comments Share on Twitter Share on Facebook RSS
 
 
  Posted 03/27/09 03:54:00 pm
 

Rod Fergusson - “I am a believer that if you’re going to make a great game, and there is that caveat, I believe that crunch is necessary. I believe it’s important because it means your ambition is greater than what you scheduled out. Crunch should be driven by the ambition of the team, and not the inaccuracy of the schedule.”

Rod’s argument is a terribly irresponsible one to make. His comments are sure to have an influence on execs and producers elsewhere in the industry given the success of Epic’s games.

Crunch is not a good thing and should never be "necessary". Ambition on paper sounds like a great idea, but based on my own experience, ambition is never driven by the whole team.

Instead, certain individuals within a team drive it and more often than not, they don’t have to do the work to realize their own ambitions. The workload that comes from their ambitions is pushed onto someone who doesn’t feel comfortable expressing their concerns.

In fact, I’d argue that I see ambition hurt more than help. Games today are full of too many incongruous and poorly implemented ideas or mechanics that have overstayed their welcome.

We've all seen games advertise how many weapons, characters, locations, cinematics and endings they have, emphasizing it is bigger and more than their competitors, hoping to convince players that more means better.

Every game I've worked on has started out with ambitious goals, which were cut back repeatedly, while working hours increased. Cutting content doesn't get as much benefit as it sounds like it should. In some areas of the game, more work may be created because content was cut from another area.
 
Instead of cutting content when crunch begins to creep around, why not just have more realistic goals for the game to begin with? Embrace the idea that your game can be even better by adopting a "less is more" approach. Ask, “Do we really need all this content? Can the story work with fewer this or that? Do players need all these choices? Does this mechanic serve to communicate the emotional essence of the game I want expressed?”

With an approach of "less is more", everything in the game must serve a holistic purpose, not because it's "badass" but because it serves the true essence of the game, whatever it may be. When you do less, the game will have focus, it will be tighter and stand out because it has a strong identity, rather than a bland personality that tries to be everything to everyone.

To that I say, down with ambition! Less is more.

Also posted at my personal blog Reiding...

 
 
Comments

Duong Nguyen
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Most games bank on the graphics over gameplay these days. If you have only so many dollars to allocate a project would you allocate it toward something tangible like a graphics programmer whose works is plainly visible or toward some nebulous area called gameplay programming, which is a mix of scripting/AI/UI/Physics programming? The fact is the most successful games have the best gameplay programmers ( because no matter how you slice it, games are still fun because of their dynamics more so than their looks ). The people who know how to execute a vision of a gameplay will make or break a game. More and more studios are breaking out their core technologies to specialize teams to allow the first tier developers to concentrate on just gameplay, which is a smart move, so maybe the situation will change in the future.

Dave Endresak
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John Carmack is a technical wizard but I wouldn't say he is an wizard at game design, at least not for long term appeal (and low cost). That isn't really id's forte, though, and that's true of much of the English market development community, especially nowadays. It's quite similar to Hollywood blockbusters that may have terrific special effects of various kinds but never win Academy Awards (except special effects) and do not stand the test of time with a wide demographic in the consumer market. Dramas, on the other hand, reign supreme because the majority of people can connect with them emotionally on some level. Even long-lasting films adapted from children's stories such as "Wizard of Oz" make the same connection and retain their appeal without any reliance on the special effects that were so incredible when they were first made. The gaming industry needs to broaden its understanding of design to be much more inclusive of fields such as the humanities and liberal arts. We only have to consider how Roberta Williams helped found and make Sierra such a powerhouse without any technical background or formal training. She told stories and people loved them because they connected to them emotionally. Deep emotion, that is, or at least much deeper than surface appreciation of "wow, that was cool" when something blows up. Of course, there's nothing wrong with the latter, either, but any medium needs breadth of content for everyone.

Reid Kimball
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I loved the Sierra adventure games. I have almost every one of them, boxed retail versions. Their characters were much more down to earth and relatable.

Alan Rimkeit
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'Less is More" is exactly why I loved Dead Space so much. It took a well planned design from Resident Evil 4, changed it up just enough to make it fresh(walking will shooting!), and added just enough new gameplay mechanics(Zero G movement) to make it newer in my eyes.

The devs did not over reach with some new fangled ideas that would have bogged down the gameplay. It was simple and sweet. The story was really good as well. I want to know where the original Marker is. Dead Space 2 please?

I am also still playing that game trying to get all the Trophies! I am almost done too. :)

george viegas
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I've recently moved to the gaming industry from the software industry. In softwware I have seen the crunch factor being repeated over and over again with mixed results. Where the crunch factor produces the most disastrous results is when new management comes in and sets targets that are unacheivable (inspite of being repeatedly told so). What ends up happenning is that projects requirements are cut back, team morale tanks, deadlines slip and usually someone from the existing team gets fired.

That been said, I do think there should some crunch, just not a whole lot of it. I think setting a 110% target is probably a good thing as a 100% target would be coasting and not as challenging. Again the key success factor is to be able to set and estimate the 110% effectively, something best done by an experienced team member.


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