had planned for a long time to make a PC game for the local market, but
a number to factors kept the idea on hold. In January 2001, the right
incentive to motivate UBI China to try a local project finally arrived.
Shanghai Animation Film Producer, the leading local animation film studio,
came to UBI Shanghai with the writes to “Music Up”.
Up” is a cartoon television series about five teenagers who like
music and organized a band, with the story build around what happens as
the band grows up. Interestingly, the series itself was not as successful
as expected but its associated merchandise -- books, cards, CDs -- are
extremely hot among Chinese teenagers. A Music Up book series sold 350,000
copies in Shanghai. 350,000 in one city -- this figure became the most
convincing statistic to push UBI Shanghai to make an investment in its
first locally aimed project: Music Up -- -Summer Rainbow.
the project in the middle of the development when the production was nearly
frozen. Before me, there had been two project managers and one assistant
who left the team after failing to work out the production problems. They
started the project in March 2001, but work had all but stopped by November.
Nearly 35 percent of the total budget had been spent, with little to show
for the effort save a very short demo. Due to market considerations, perceived
competition, and the need to time the release to coincide with the re-broadcast
of the “Music Up” television episode, the game need to be
on the shelf by August 2002 – and no addition funds would be forthcoming.
from Music Up -- Summer Rainbow
I took on
the project in December of 2001 and presented the beta demonstration at
UBI’s offices at 18/F, Time Square, Shanghai at the end of April
2002. The master was ready in July, the gold master was sent off –
just in time, on August 3 2002.
not sure yet if Music Up is a hit with the local market or not, but the
experience was extremely reward to the team and myself. Although we would
have loved to lavished a long production cycle and bigger budge on our
first game for the local market, Music Up – Summer Rainbow will
make us more confident on the next local project.
What Went Wrong
of the studios. In an effort to cut cost, the early managers of the
project decided to farm out much of the production work to other studios.
UBI China in Shanghai was responsible for the game design, quality control
and final testing. The game engine was being built in Cheng Du, 2,600km
from Shanghai and a center low-cost game production. The animation was
taking place in Hang Zhou, 200km from Shanghai and known for budget animation
studios. 3D backgrounds and audio dubbing had been sent to Beijing, home
to China’s most diversified cluster of game studios.
in working on such a spread out project is the communication lag. Although
we built a server especially for the project, exchanging the documents
by ftp, there was always a feeling of communication obstruction among
the team members.
game design structure. Music Up marked the first time that
UBI China’s designers made a game independently, and the structure
was changed continuously. The designers were constantly developing new
ideas and the engine studio therefore always needed to change to accommodate
the growing design. This, of course, led to increasing instability. More
seriously, market demands meant that the game had to be complete for summer
of 2002; time had run out for such changes but the designers still couldn’t
help themselves from making more improvements.
3. No agreement on criteria for animation quality. The
original design for Music Up called for top-shelf animation that would
compare favorably to the Japanese games the dominate the Chinese market.
However, the work we received from the Hang Zhou studio didn’t meet
our expectations and was rejected several times. They declared that they
had done everything according to the contract and the quality was in line
with what we had paid. If we wanted higher-level quality, we’d need
to spend more money. They disagreed with our rejection of the work and
claimed UBI owed extra payments for rejected art.
was very volatile and eventually led to a freeze of the production, with
neither willing to concede a single point. When work stopped, Hang Zhou
had finished 25 percent the contracted work (though our quality controller
had accepted just 10 percent of the submitted files) to their satisfaction
but received only 5 percent of the contracted payment.
money and less time. When I came onboard in December of 2001, I noticed
that 35 percent of the total budget had been spent with only a 3 minutes
demo to show for it. The product needed to ship in the summer of 2002
to catch the re-broadcast of the original series in the major cities and
to avoid the strong competition from Sakura III.
It had also
become clear that we would be seeing an additional investment in the project.
A confidential sales report suggested that no single-player PC game would
be sold well over the next couple of years in China, even Sakura II. Massively
multiplayer games are expected to drive the market, surpassing even the
popularity of pirated games.
two constraints in place, it was obvious that the theme of the production
and development would have to be cost oriented rather that art first.
license. Obtaining the rights to Music Up consumed 25 percent of the
total budget -- which conflicted with our philosophy of cutting costs
as much as possible. If the money could have been spent on the engine,
we would have realized more long-term benefits.
effect of building the game around the property was minimal, as the airing
of the series didn’t favor of the games development and marketing
at all. In return, it became a serious constrain of the production.
the music we bought with the copyright was not fully owned by the show’s
film producer. The problem wasn’t found out until the production
went to the final period. As a result, some music that the game designers
most wanted was not available for use in the game. You can guess how disappointed
the team was when we got the news.