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Interview: Armature Founders On 'Unsustainable' Biz, Plans
by Chris Remo
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September 19, 2008
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Game production is "becoming costlier and costlier, and it's becoming unsustainable for current-gen development to continue this way," former Retro Studios (Metroid Prime) principal technology engineer Jack Mathews tells Gamasutra.
This is why he and former Retro game director Mark Pacini and art director Todd Keller founded Armature Studio and signed a long-term publishing deal with Electronic Arts. The three developers discussed the move with Gamasutra this week.
The new Austin, Texas-based company is in many ways an experiment intended to demonstrate a different type of development: keeping a small in-house staff to conceive ideas and rapidly prototype gameplay concepts and technology, then working with external contractors and outsourcers for full production.
The company is currently hiring, but plans to cap out at around eleven employees -- and deliver full-scale, triple-A games with its distributed development model.
The Process
"We're very hands-on, very involved all the way through the process," says Pacini. "In the beginning, our main focus is creating original ideas and coming up with what the game actually would be. When we get into the production part of it, we'll be working with distributed developers and contractors to execute the game."
He stresses that Armature won't simply generate concepts then hand them off to another studio. "We will be very involved in the creation of the game," he says. "Our role may shift a little bit to directing a lot of the content, but we'll still be creating content as well.
It's a pitch very reminiscent of that of Wideload -- the Chicago-based developer (Stubbs The Zombie) founded by Bungie co-founder Alex Seropian -- which also operates around the concept of a smaller internal team driving contract-driven production. But Mathews says Armature's close relationship with EA will facilitate bigger games.
"A lot of our core development ideals are pretty similar, but hopefully the partnership with EA should allow us to get larger-scale projects under development," he says.
"I know a lot of [Wideload's] stuff is somewhat smaller. With EA what we're looking at it is an opportunity to hit this development model out of the park, by being such close development partners with the publisher that we can really just make very fast moves back and forth to make things happen."
The Benefit
The three principals are looking forward to the kind of development emphasized by the Armature concept: lean, rapid prototype development that doesn't get bogged down in the ways traditional development often does.
Mathews explains: "One of our core beliefs is that this will actually allow us to do more quick iteration, quick prototyping. One problem with game development is you end up with tons of 200-page design documents, but nothing actually proving out. Once you actually go into production, you find a lot of things don't work, and vast swathes of your design just go out the window, or you've gone too far and you can't afford to throw those things out the window."
He believes the new method will "be able to quickly prove or disprove high concepts and come up with a focused, playable, very good core of the game as quickly as possible, using as few resources as possible," before moving into the full production stage.
Plus, years of working at Retro and collaborating with an overseas team gives the developers a sense of perspective as to what's involved with a distributed development effort.
"We have extensive experience working with developers in Japan -- that's who we worked with for the past eight years," Pacini points out. "We've had to deal with a thirteen-hour difference for eight years, and we've learned a lot of how to be efficient at that communication. The idea is to create 'virtual studio.'" He adds that EA's considerable outsourcing resources should help the process as well.
The Future
Pacini worries that the current model of game development is becoming far too unwieldy, and believes that a more distributed, less centralized system -- similar in some ways to that of the film industry -- could become the norm.
"The model in which games are made -- with a staff of people upwards of 100 people a lot of the time -- is kind of outdated now," he says.
"It costs so much money to maintain that staff. What do you do with that staff when the game is done? You get these mass layoffs. You don't hear that when a movie's over. Everybody who was on the movie is gone -- but there was no mass layoff, it's just that everybody was a contractor just for that project.
"I think in the future, a lot of game development will move towards that," Pacini continues. "Contractors now are being used more efficiently than they've ever been on game projects, and it's become a more valid way to staff up your project. Rather than being looked down upon as a company that doesn't want to hire somebody, it's more fiscally responsible of the company to hire contractors, not to staff up and have a mass layoff at the end."
The Legacy
Why leave Retro after delivering one of the most acclaimed series of the last decade? "Now that the Prime trilogy was up, it felt like a good time to be looking around, and this is an opportunity to branch out more and reach a lot more people with the types of games we like to make," Mathews says. "Plus, the venture is one that really fits with our thinking about how games should move forward."
After eight years of GameCube and Wii development, the group is also looking forward to branching out to other platforms.
Says Keller, "[Armature] has the opportunity to reach people on other systems. It opens up gameplay to have more powerful systems. I've always liked all the systems, but [Xbox 360 and PlayStation 3] have a little bit more ability for you to expand your game."
As far as living in the shadow of Samus, the Armature team isn't too concerned. "Every game we've done, I've been more excited about," says Pacini. "At the end of Prime 3, I said, 'Wow, I think that's the best thing we've ever done.' It was really rewarding at the end of it. The stuff we're working on now, I feel the same way. I'm excited about the new things we're coming up with.
"It's been so long since Prime 1 came out. I remember, but at the same time, while it's something I'll always be proud of, and it's something people thought was good, you have to move on from that. As long as you're excited about what you're doing, I think that's what's important."
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There are still a few things missing here--that will throw a wrench in what your saying. But a great Read. EA is starting to be cool again>>whats going on? They are putting out super cool games-and picking up all the great ones "Brutal Legend"-Way to go. Mirrors edge and Skate 2 look amazing.
Why not go all the way? Do the film industry thing?
To Anonymous at 10:09 am PST, I would suggest you see it as self-evident that the CGI studios use the "best" model. I would suggest that maybe they use a less-than-optimal model - it's just that they get to control their core people by doing so.
No I just think it's an interesting point to consider.
Ed Gregor: You are confusing offshoring with outsourcing.
At least when a company is a single entity you have a much better means of ensuring everybody shares the same vocabulary.
I find it interesting that the film industry is heralded as the “best” way of working.
Say for example you decided to have a full contract based team. So you hire a Tech Director, at the end of the project his contract expires. What do you do now? This person knows the engine back and forth, but now as a business man you find yourself in a hole. The Tech Director has you in a bind, he can ask for an exoberant amount of money or just simply bail on you. Now your in trouble!
Same goes for all the core positions. There are other vectors involved besides direct project dev, like learning each other's moves, dev of team culture, ramp up training, quality culture, list goes on and on.
As a core team, you want to be able to bring some stability as well to the new team and hand them the torch. Imagine if your whole team was contract, who is going to teach the "new core team?" The CEO? Frontdesk? Valet?
To add what Justin is talking about, Outsourcing also recquires an incredible amount of logistical support. That means you are going to have to hire an outsourching guru who can manage the output and input. Second you are going to have to spend core team time to review the assets that are coming in, you might have to coordinate strange hours for meetings, besides an ftp site you might need to invest in some type of data management.
A major issue in regards to outsourcing is delivering the vision and style of the game. For example, you can send the outsourcing team a concept drawing and guess what it might come back exactly how you drew it! Why could this be bad, because alot of unscheduled dev time takes place between a director and his team, like in this case dev of the concept drawing language and that takes a lot of day to day team work.
In some cases, if you think about it long enough, it probably would come out cheaper to keep more work here in the U.S.
On the business side, take a core of 5 team members at an average cost of 10,000 a head including overhead, 1 month ramp up time, that's 50,000, take about 3 months to get something going in the engine. 150,000. (If you're starting a company from stratch it will take you more time, so hire a CEO/COO or team manager). To develop a strong vision for the game, probably 1 year with a core team of 5 that's $600,000.
2 years with a core team of 5 that's 1,200,000. (contract might be more money)
So you want to get rid of them and lose 1,200,000 of an investment because they were contractors? I think not. I'd rather keep the core team and keep them creating away.
What is it with you game developers? You are so clenched and scared to try anything different. Also, you are such bean-counters. My God, no wonder this industry is in such a creative slump - it's being run by myopic number-crunchers.
When you contract a lead actor - and, yes, in any film you will see all the actors are contracted - yes, it is possible that if one up-and-quits half way through filming, he can demolish a film. You can't go back and refilm a million dollars' worth of production you know.
But it's a non-issue. Why? Because he would be committing career suicide. (Besides, there are types of insurance you can get to deal with this stuff.)
So you're speaking entirely in fearful hypotheticals.
This stuff has been done ALL THE TIME on films. Yet, somehow films manage to get made. Why?
HAVE SOME BALLS, MAN! Try something different.
Most of the crew in a film only participate for a fraction of the total production time.
Trying to call me out and say I have no balls, come on that's stupid naive talk bro. You really needed the urge to personally attack me?
For your information I have been apart of a start up, last worked for another as well as many gathering of potential startups. Ideas and creative are not the problem at all, its money. You need machines, software, engine (s) to say the least, unless you propose pirating?
You really have to get a grip on reality here, I mean its all nice that you believe the world is built on fantasies, perhaps its the fault of video games and movies that lead you to believe that they just "magically" appear in the theatre or game stop. I'm really beginning to believe that's the fundamental ingredient to becoming a Heckler.
Alot of blood, sweat, tears, time and MONEY go into any creative venture. If its a painting on canvas, to a garage band, someone had to pay for the raw materials.
Try something new? Gimme a real break here GameMaster, for the last 6 months I have been. If you have a couple of million then we can put a team together. Otherwise if you think creating a game is like sending out a tell in an MMO well its not homey.
OR if you have a couple of guys that want to work for free for a couple of months awesome you go for it!
Films are made very differently. Designing a game is like explaining what a camera, canvas, seats, popcorn do and then your planning on expressing content.
Even Dreamworks, Pixar, Disney etc...have core teams...do you think Spielberg rolls alone? He has a crew, so does every other director.
GM, Your model of getting rid of everyone after a game is akin to having a rock band that splits after 1 great hit. The name of the band stays, but the next group doesn't know how to play the instruments.
Devs are people who are looking for stability as well. People like you have the fucking mentality that they can be simply thrown away after they are done. Its the shit that fucks the USA up, the disponsible culture.
A great company is like a great pitcher, you need to cultivate to create, don't over work him because he'll throw his arm out.
The movie industry also has Unions and some stability.
How about setting up unions for us "game master" instead of putting us hard working people down?
A starving contract engineer named BENDER eagirly awaits a call from his next potential employer. Suddenly the phone rings.
BENDER
Hello , Bender speaking
GAME MASTER
HI De HO Bender! This is Grass Roots Game Master, are you Bender the Engineer in India?
BENDER
Yes sir I am and you are?
GAMEMASTER
Gamemaster
BENDER
Oh, um very nice to meet you mr. gayummaster
GAMEMASTER
I have a great game idea, its going to be the next WOW Killer
BENDER
Ok, I can do an MMO, no problem, what software are we using? Do we have any deals with anyone? How about a core team?
GAMEMASTER
Deals no fucking way! MAN! Core team, yeah contract, the tech director is in Canada, the art director is in Brazil, I have one artist in Austrailia and the texture artist is in Colorado, US of A. the vfx artist is in Pakistan, you know boom!
BENDER
Wait what? Those are different time zones, whose coordinating?
Wait mr. gamemaster, no deals, I have to pay my bills, how are you going to pay me sir?
GAMEMASTER
Shit those are details, I'm too fast for that...Pay you? Come on! Its people like you that hold back creativity!
BENDER
Huh?
GAMEMASTER
Think big here baby! We can make the WOW killer! Well do it for free, for the benefit of mankind!
BENDER
Free? Sorry sir I have a family to take care of. I'm just trying to get some clean water today,its been 3 days.
GAMEMASTER
Wait man comeon grow some bull balls, be adventurous...
BENDER
Cows are sacred to us stop it, Come one sir, don't offend me...I'm talking to someone who wants me to be a slave
GAMEMASTER
Look I'll mail you, um a carton of Hummus every two weeks! But you should really do this for free, the Universe does this shit for free, man...
PHONE VOICE O.S.
Hey GAMEMASTER you're letting it Ash man, pass the joint
GAMEMASTER
Habu, I mean Bender one second...(inhale) ok where were we, oh yeah Hummus I can send you rice too...shit your lucky this game god critique is talking to you...
BENDER
Thank you very much sir, but you are on drugs, good bye.
(The phone hangs up)
GAMEMASTER
Buddha fricking Christ man, these people just don't see the big picture here! They have to think meta! Bong! The universe is a free creative force, everyone needs me to guide their way....
There's a mere question of trust and fusion here, an essential need to communicate easily and now how the others think, you need automatisms, you need to know people who are going to be at the core of the project you want to work with, their habits, their methods, you need to know they're going to be there when you need them, not selling their services to some other company, screwing up your plans.
It's like a football team (the real football, not that American nonsense), you can build your Dream Team, but if you don't have a solid core at some point, both in the staff and on the terrain, it will fail. Communication will be horrible, forecasting expectations and thoughts will be impossible, the internal imagination-brew will need to be limited by what you know of the others' abilities in order to remain relevant to what you think can be done.
Yes, a minimal form of mutual slavery, call that bonding, is necessary, especially when the industry is experiencing difficult times and complex transitions.
When this system will be well rounded, then maybe affairs will be stabilized enough and opportunities more numerous to venture into "multi-solo" models, but we don't need to need to rush.
You need to know you can count on other people, that you share interests, that there's a basic level of socialism to find between studios, before going like a lone ranger and hiring your mercenaries like if they all happened to be waiting for you.
When considering Armature's future, I'm reminded of Hideo Kojima's comment where he suggested 'the best thing would be a PS3 with controls like the Wii'.
With what the Armature founders accomplished with the Wii control and game system while at Retro Studios, it's troubling to imagine them returning to the now-antiquated 'dual-analog' control style. That said, if they can tame the additional horsepower of the other two consoles, the results will be truly spectacular.
Additionally, while their decision to target multiple platforms gives them a golden opportunity to demonstrate to a broader audience their incredible command of interactive entertainment, it does have a downside. Going 'multi-platform' - designing for different architectures, different capabilities, different input - will mean less authorial control. For these creators, that is a serious consideration.
To Todd Keller, Andrew Jones and everyone else at Retro Studios & Nintendo: thank you for going the extra distance with Metroid Prime 3: Corruption. It's an audio visual masterwork.
To the founders of Armature: kindest wishes for the future.