Gamasutra: The Art & Business of Making Gamesspacer
arrowPress Releases

If you enjoy reading this site, you might also want to check out these UBM Tech sites:

Q&A: For Alex Austin, constant prototyping is a way of life

Q&A: For Alex Austin, constant prototyping is a way of life Exclusive

February 11, 2014 | By Kris Ligman

February 11, 2014 | By Kris Ligman
More: Console/PC, Indie, Design, Exclusive

One of the original developers behind Gish alongside Edmund McMillen, Cryptic Sea's Alex Austin is an experimental game developer whose work has spanned multiple genres and aesthetics, from first-person sports games to overhead racing and tank combat titles.

Across many of his games, Austin's interests lies with realism -- not of visuals, but in terms of mechanics and play styles, compelling players to rethink their assumptions of how games work. Some, such as Hockey?, enjoy an international cult following due to their original and hard-to-master gameplay.

Gamasutra catches up with Austin to chat about his open development approach, his current prototypes, and why he wishes his games were more polished than they are.

Gamasutra: Looking over your website, it seems like nearly everything youíre working on at the moment has a test build or a demo for people to dive into. Youíre pretty open about your development process.

Alex Austin: For multiplayer games, you do kind of have to build up a fanbase to even test things out. You canít really test it out yourself, especially if youíre one person or a couple people. So thatís been my strategy: put things out there, see if people like it, see how theyíre playing it, and base design off of that. You canít figure out how people are going to play your games until you put it out there.

Usually what Iíll do is that Iíll go online in one of my games anonymously and just watch how people are playing. If I go online under my normal handle, theyíll just bombard me with ideas. I try not to pay too much attention to those Ė they have their ideas of where the game in its current version should go, whereas Iím focused on the next version, not so much going back and modifying whatís already built.

Another good thing [with open development] is bugtesting, since you can test how the game works on many different systems and setups. Iíll definitely hear about it if a game Iím making doesnít work very well on a certain card.

The other part of having these games up as alphas and betas isÖ Iím kind of running out of money now. [laughs] So I kind of have to start charging for things. Iíve been all right with money for a while because of Gish, which was in the very first Humble Bundle, but thatís sort of run out.

Gamasutra: You also have an outrageous number of open projects right now, as I recall. How many are you working on?

AA: I think about six, actively, but in total something like 17 or 18. We counted them recently at a game jam. A lot of them are, you know, prototypes.

It just kinda happened this way; I didnít plan on or set out to have this many. Some of these games Iím working with someone else -- an artist, letís say -- to develop. And I switch among projects, working with one person, then another game with another person, while Iím working on ideas for my own games. I also have a tendency to not finish games, because Iím too ambitious. [laughs] Which is part of my current situation as well. Iím starting new projects while Iím still trying to finish some of the old ones.

Gamasutra: But you find you get more done this way?

AA: Yeah, itís really useful for me!

Just for one example, one of the things I’ve been focusing on for the last couple years has been vehicle physics, within a physics engine that I built myself. I want to be able to model each wheel on a vehicle independently. So when I started exploring that in A New Zero, and then in the top-down racing game, I was able to apply much of the same tech to both. When I got stuck on one game, I could move over to the other and work on that, until it gave me some insight on how to solve the first problem.

At one point, in one of the games, I had some calculations wrong on one of the wheels Ė but I didnít notice it because there were only, like, two drive wheels. But when I applied the same physics to a tank -- which has, like, 12 wheels -- in another game, you could tell immediately that it was way off. So thatís one instance where spreading myself among projects turned into problem-solving.

Gamasutra: Of your six active projects, probably the most striking one to me is Hockey? You donít often see hockey games getting the first-person treatment -- actually, I canít think of any. What was your thought process going into that?

AA: It started as a top-down game, like the original NHL 94. But it had physics, and what we found was that in third-person the physics were too hard to control. So, on a whim we said Ďletís try it in first-person mode.í And it just felt right. Within a day of experimenting we were convinced what we had could work.

We made the whole first-person Hockey? prototype in like a week and put it up, where itís been for about two and a half years now. Itís garnered kind of a cult following. There are leagues -- I think Russiaís league has over 400 people by now. And there are North American leagues as well.

I think the most interesting thing about Hockey? and how people are playing it is the skills you can develop. You can tell if a playerís played for a month or like, two years. Thereís just a huge difference in the skill you cultivate 00 stuff that we didnít even anticipate.

For instance, we figured that no one would want to play goalie. So we didnít even bother putting in any gear for that position. You just have the basic hockey stick. But now, in all the leagues, there is always someone who plays goalie. And this is despite the fact that we didnít program the puck to collide with the playerís body -- these goalies are able to knock pucks out of the air with just the end of the stick. Itís amazing. I donít know how they do that. I canít do that.

Gamasutra: Youíve mentioned previously the sort of Ďlack of polishí that your games have, and how you see this as a disadvantage. Some independents see a Ďrough around the edgesí aesthetic as kind of a badge of honor; a statement. You donít consider yourself in that group?

AA: Yeah. Definitely. The Cryptic Sea EP, the album of games that Iím working on? All three of those games are really good, but I havenít been able to get the level of polish that Iím after. Thatís one of the things Iíd like to do, when I start making enough money to afford that, is hire people to come in and give it the polish it deserves.

I do agree that a lack of polish can be [a statement]. Like obviously, I donít want a game I release to be buggy or anything like that. But visually I think that going for something simple can be smart. About half my games begin with a simple black and white start menu. Itís far better to do something like that than to do some kind of halfway job.

[On the other hand] I do feel like some games are Ďover-polished.í And thatís another thing: I never want to start polishing a game before I think itís ready. Once you start doing that, youíve kind of locked in the gameplay. So I try to wait until the last minute.

You can follow Alex Austin's work at Cryptic Sea. He's also available for web design services.

Related Jobs

Blackstorm — Mountain View, California, United States

Studio Game Engineer
Plarium Michigan Studio LP
Plarium Michigan Studio LP — Portage, Michigan, United States

Senior Systems Designer
Naughty Dog
Naughty Dog — Santa Monica, California, United States

Web Developer
Naughty Dog
Naughty Dog — Santa Monica, California, United States

Scripting / Systems Designer (Single Player)

Loading Comments

loader image