David Mullich's Blog
I have been developing and producing games for the past thirty-six years. I designed and programmed my first best-seller, The Prisoner, based on the Patrick McGoohan television series, for Edu-Ware in 1980. I later formed my own company, Electric Transit, which developed 3D simulations in collaboration with NASA/JPL scientists and was Electronic Arts' first affiliated label publisher.
In 1987, I was hired as the very first game producer at The Walt Disney Company, where I produced DuckTales: The Quest for Gold and DuckTales for the NES. Other notable games I have produced since include Harlan Ellison's I Have No Mouth, and I Must Scream for Cyberdreams, Heroes of Might & Magic III & IV for The 3DO Company, and Vampire: The Masquerade - Bloodlines for Activision.
I am currently a freelance game designer and producer at Electric Sheep Game Consulting; Lead Faculty of The Los Angeles Film School's Game Production Program; co-creator of the Boy Scouts of America Game Design Merit Badge; and publisher of a daily newsletter, The Games & Brains Daily, with articles about game-based learning, gamification of the classroom, and game development for kids.
Follow me at @David_Mullich.
The desire to become rich is not a good reason to get into game development. Most game developers earn a middle-class salary at the price of long hours and frequent layoffs. Do it for love, not money.
Despite having produced many critically-acclaimed games in my 35-year-career, I find it increasingly difficult to find a company willing to hire me now that I am in my mid-fifties. Do we need to add ageism to our fight for diversity in the game industry?
Today marks the 15th anniversary of the release of Heroes of Might and Magic III: The Restoration of Erathia. To commemorate the event, Ubisoft asked me, as the development director, to write my recollection of the making of the game.
Everyone has their favorite gaming moment. It might be an amazing boss fight, or a twist in the game narrative that took you completely by surprise. These are the defining experiences that live on in our memories, the reasons why we play video games.
Immersion is one of the reasons why players play games. Immersion, when properly done, appeals to our desire for novelty through new and imaginative experience. However, the trick is in getting the details right.
When I greeted my game production class, I was disappointed that there were no women among the fifteen students. I've worked with female programmers, producers and executives throughout my career -- but why aren't there more of them?
David Mullich's Comments
[Blog - 03/27/2014 - 08:27]
Upon further thought, I 'd ...
Upon further thought, I 'd like to correct myself. I do think that if one meets job candidates based on merit, one 's rolodex will automatically become more diverse. However, there is benefit in seeking out diversity, particularly in creative positions. Gamers are a diverse group, and so it is ...
[Blog - 08/20/2013 - 12:00]
How then do you explain ...
How then do you explain the high percentages of women in such risky professions as acting, art, and fashion design How about all the female entrepreneurs who have started their own business in retail, restaurants, manufacturing, services, etc., when the average new business has an 80 chance of failure within ...
[Blog - 08/13/2013 - 12:00]
[News - 04/18/2013 - 09:39]
As one of the creators ...
As one of the creators of the new Boy Scout Game Design Merit Badge, I couldn 't be happier that the girls are getting one too
[News - 04/03/2013 - 01:42]
It was inevitable that Disney ...
It was inevitable that Disney would fold the development and publishing of Star Wars games into its Southern California operations, but still, I feel a disturbance in the force, as if hundreds of voices suddenly cried out in terror and were suddenly silenced. Hopefully, they won 't be silenced but ...