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Gamasutra plays Super Mario Odyssey

Nintendo’s newest Mario platformer is here! With the launch of Super Mario Odyssey, the Nintendo Switch now has two major first-party titles (the other being The Legend of Zelda: Breath of the Wild) inside its first year that demonstrate the design possibilities and motion control experiments that are possible on the sytsem. 

So what’s the game like? How does Nintendo introduce players to its weird new mechanics? We took a close look today on the Gamsautra Twitch channel. It’s definitely a wild new setting for Mario, and its areas neatly unfold to introduce you to new kinds of entities you can “capture,” as the game calls it. 

You can watch the full video above, and while you’re at it, be sure to follow the Gamsautra Twitch channel for more gameplay commentary, developer interviews, and editorial roundtables.

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Itch.io adds support for distributing games to Patreon backers

If you’re a dev with an interest in either Patreon or Itch.io, you should know that the latter is gaining a new feature (inside the “Distribute” tab of the Itch.io dashboard) that allows for devs to distribute their work directly to Patreon backers.

Notably, this should streamline the work of providing games, game dev tools, or other creations to Patreon supporters, and give devs who use Patreon a more centralized way to keep track of how many copies of a given project have been distributed and how many have been redeemed on Itch.

Itch.io founder Leaf Corcoran showcased the new feature on Twitter today and made it clear that, for the moment, it’s still experimental; devs can start messing around with it now, and Corcoran aims to flesh it out and provide documentation in the near future.

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Blog: Data, graphs, and takeaways from a survey of 200+ Steam devs

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


Over the past few months I’ve been conducting a survey of registered Steam developers to get their opinions about how they really feel about Valve, called Operation Tell Valve All The Things.

PCGamer has a 90-day exclusive on the overview article which you can read here, but the 97-page report itself is fully public and is not under any publication restrictions. Feel free to share it and link to it yourself, just don’t modify it.

This public version of the report is slightly different than what was sent to Valve. Chiefly, I’ve redacted everyone’s personally identifying information and removed any responses from people who opted to exclude their data in whole or in part from the public. The vast majority of respondents (223 out of 232) shared their basic survey answers publicly, and a larger portion opted out of sharing their demographic data publicly.

The report itself with some additional context and commentary can also be found on PCGamer.

I’ve also embedded some of it here below:

My friend Jason O’Neil also created this visualization tool where you can compare how people voted by demographic information. (Note that in Survey 1 below the “community” field is mislabeled, but the rest of it should be correct, we’ll try to fix that.)

Navigation:

– Dropdown or up/down on keyboard to change demographic highlighting. Note there’s a bug where clicking the dropdown also advances the question. We’ll fix it eventually.
– Click the arrows or left/right on keyboard to change questions.
– Mouseover the dots to see the details of each individual response
– “Show loud voices” scales responses in size proportional to the “importance” vote. “Very important” responses are larger than “Important” are larger than “Not important.”
– Color coding generally follows: dark red (less fortune/advantage) to grey (middle) to dark blue (more fortune/advantage). So higher revenues or longer lifetime on steam is blue. White means “no demographic data.”

The raw results are available in these spreadsheets if you want to check/reproduce my work:

Survey 1 results

Survey 2 results

Issue Scores

That’s all!

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Does Wolfenstein II’s brutal opening have design value?

Wolfenstein II: The New Colossus has one of the most brutal opening 40 minutes ever seen in a triple-A game. It depicts intensely mature scenes featuring racism, homophobia, domestic abuse, and violence against the disabled in a bid to tie the worst of Nazism with the banality of American white supremacy. 

Compared to the introduction of Wolfenstein: The New Order, which was fairly boilerplate World War II fiction, it’s a big, risky jump for developer MachineGames. But does it stick the landing? 

Today on the Gamsautra Twitch channel, we answered this question with a “yes” that came with a few major qualifications. Wolfenstein II’s intro is clearly aimed at tackling big themes involving familial violence and how it links to racism in society, and there’s a lot of gameplay and storytelling decisions that reinforce those ideas. We wanted to explore those moment-to-moment game design decisions, and ask what impact they might have on the overall game. 

We also had a few moments to discuss the game’s depiction of Jewish charcaters, especially as it relates to lead character B.J Blazkowicz, who’s finally depicted with having the (mixed) Jewish roots that former Wolfenstein developer John Carmack claimed he had a few years ago. 

We’ve archived the entire stream for your viewing up above, and if you’re interested in a critcal discussion of how to make impactful moments in a first-person shooter, you should give it a watch. And we’d be thankful if you were to follow the Gamsautra Twitch channel for more gameplay commentary, developer interviews and editor roundtables. 

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Video: Applying entrepreneurial skills to be a better game dev

What does “entrepreneurship” mean in the context of the business of games and running a studio?

At GDC 2017, game industry vet Jason Della Rocca took the stage to try and shed light on that question, and in the process he made an important point: in games, being an entrepreneur means way more than just being willing to do the “business stuff.”

According to Della Rocca, taking entrepreneurship more seriously and adopting advanced techniques can give devs a leg up on the competition.

Citing examples and lessons learned from his time investing in over 20 studios, Della Rocca offered devs advice on everything from leading a team to securing funding to marketing your game and keeping your head straight throughout the whole process.

It was a very practical, useful talk that you can now watch for free on the official GDC YouTube channel!

In addition to this presentation, the GDC Vault and its accompanying YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC or VRDC already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent UBM Americas

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Get a job: ZeniMax Online Studios is hiring a Lead Console Programmer

The Gamasutra Job Board is the most diverse, active and established board of its kind for the video game industry!

Here is just one of the many, many positions being advertised right now.

Location: Hunt Valley, Maryland

ZeniMax Online is searching for an enthusiastic Lead Console Programmer to lead a team of engineers to bring a constantly-evolving AAA MMO client to next-generation consoles. 

Responsibilities:

  • Develop and expand the ESO client on consoles
  • Lead the development and software engineering of next-generation platform support
  • Work with cross-team producers, engineers, and operations departments to bring together a complete next-generation console experience for players 

Requirements:

  • 5+ years of game industry software development experience
  • History of leading high-quality engineering teams
  • Profound technical knowledge of Xbox 360/One and PlayStation 3/4
  • Robust programming skills/experience in C/C++, Java, JavaScript, HTML, Python and ActionScript
  • Credited on at least one published video game in a programmer role
  • Strong architecture and low-level performance programming skills
  • Strong communication skills
  • Experience with network game client/server architecture

Desired:

  • Next-gen console experience
  • Previous MMO development experience

Interested? Apply now.

Whether you’re just starting out, looking for something new, or just seeing what’s out there, the Gamasutra Job Board is the place where game developers move ahead in their careers.

Gamasutra’s Job Board is the most diverse, most active, and most established board of its kind in the video game industry, serving companies of all sizes, from indie to triple-A.

Looking for a new job? Get started here. Are you a recruiter looking for talent? Post jobs here.

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Visceral devs share the story of the studio’s closure

A lot of things started turning around [in 2017] but I think there was a little bit of a too-little, too-late aspect to it. I don’t think it mattered.”

– One of many anonymous devs speaking to Kotaku details the studio’s closure

Kotaku has published an extremely detailed story chronicling the years and years of distress that led up to the recent closing of Visceral and the demise of its untitled Star Wars game, creating a must-read cautionary tale for other game developers in the process. 

Speaking anonymously, many developers that had worked at the studio both before and at the moment of its closure offer an inside look at the cascading complications Visceral faced in the years leading up to its end.

As with many complicated closures, no single issue can be blamed for the studio’s demise, but the developers speaking to Kotaku shed some light on the problems that likely contributed. One developer said that the sheer cost of maintaining a development team in San Francisco might deserve some of the blame, saying that Visceral was the most expensive studio under EA’s ownership.

Another said the slow back-and-forth between both internal and external groups critically wounded the development of Visceral’s ill-fated Uncharted-like Star Wars title. Part of those complications, the developer said, was because the constant need for concept approval from the Star Wars people could drag even small decisions on for months. 

“Oh, would Dodger really look like this? What would his weapon look like? Potentially years of that. Would he carry this? Would that really work in the Star Wars universe?” the anonymous dev told Kotaku. “With Uncharted, they can build any world they come up with, because it’s their world. With Star Wars you have to have that back and forth.”

There were complications within the studio as well, as many developers said that former Uncharted director and then-Star Wars director Amy Hennig had stretched herself too thin by trying to take control of everything from gameplay to level design all at once. 

Per a former Visceral employee, the bits of the game shown off to EA at a mid-year check in earlier this month were all too similar to Uncharted for EA’s tastes, with the unnamed employee saying that each of the three scenes could be paired to an almost identical moment in Naughty Dog’s Uncharted series. 

After that, it seems the studio’s fate was sealed. Kotaku’s full write up provides additional context and information beyond the points assembled here that is well worth a read, both as a record of Visceral’s struggles and as an inside look at the complicated process of bringing an ambitious project to fruition.  

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How watching people play Dead Cells ‘incorrectly’ influenced its designers

I wasn’t thinking as a player but more like a designer. It’s difficult to get rid of the idea of the way we want it to be played, and the efficient way is usually the opposite.”

– Motion Twin’s Sébastien Bénard reflects on how designers and players approach situations differently

Dead Cells went through a number of changes before launching into Early Access earlier this year, with everything from its genre to mechanics seeing significant shifts since its initial pitch.

Now five months out from that release, Motion Twin is still poking and prodding at some of its core design elements because, as Motion Twin’s Sébastien Bénard tells Rock Paper Shotgun, players weren’t playing the game how its designers had intended.

As part of its The Mechanic column, Rock Paper Shotgun has published an interview with Bènard detailing how the weapons system has evolved through the development of Dead Cells, and how it continues to do so as Early Access player feedback rolls in.

The conversation itself offers an interesting look both at how major changes can affect a game for the better and why it can be beneficial to sometimes think like players instead of designers. 

For example, after the game’s release, the team noticed that many players would opt to make one or both of their equipped items a long-range weapon. It had been an early design philosophy to place no limit on ammo for bows or grenades, which turned out to make ranged weapons a mite overpowered.

The game’s designers had intended for players to use a ranged attack as part of an elegant exchange, like firing an arrow at a foe and quickly dashing in to finish the enemy off with an equipped close-combat weapon. Instead, the team found that players would hang back and fire endlessly at foes until the battle was won. 

“It was a problem because, of course, when you make a game you want it to be a challenge, and when a player goes for long-range weapons the challenge should still be there,” Bènard tells RPS. “It shouldn’t be just pressing a button and it kills the enemy.”

The first solution was to go against that early design decision and implement an ammo system; in this case, one that would return fired ammo after an enemy was killed. But shortly after the fix went live the team realized that they had made bows a little too inefficient against the game’s bosses, so another tweak was added. 

Bènard says that the changes didn’t sour the game for players. Instead, the new rules for bows forced them to adopt new strategies, with the added bonus of making dual-bow character builds a viable but still difficult choice for players to make.

That full story, along with an insightful look at how the weapons-based combat system Dead Cells has evolved both before and following its release, can be found over on Rock Paper Shotgun

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Apply now to be a GDC 2018 Conference Associate!

Are you someone who’s eager to help the 2018 Game Developers Conference go off without a hitch, and get free entry to boot?

Then you should consider applying now to be a volunteer Conference Associate (CA), because you can earn the equivalent of an All-Access Pass by putting in roughly 25 hours of on-site work!

Next year GDC 2018 runs from Monday, March 19th through Friday, March 23rd. Applicants who are chosen to be Conference Associates will be given pre-conference assignments and asked to attend a required orientation dinner on Sunday, March 18th. This is a paid position, so you must be eligible to work in the United States.

Furthermore, those accepted into the program are expected to be on-site during conference hours from the start of your pre-conference assignments through the end of the conference on the evening of Friday, March 23rd.

What will you be doing, you ask? CA duties may include guarding doors and scanning badges, monitoring sessions, answering attendees’ questions, and more. In your free time, you will be able to use your All-Access pass to do things like attend talks or visit the Expo floor.

To apply, head over to the GDC 2018 CA application page and read the instructions. The deadline for applications closes at 11:59 PM PDT, December 22nd, 2017! Applicants will be notified if they are accepted (or not) by January 11th.

Applications submitted after the positions are filled will be offered the opportunity to be put on the waiting list. Applications will be accepted up until 11:59 pm (Pacific Time, UTC-8) on March 13th for the waiting list.

For more information on GDC 2018, visit the show’s official website, or subscribe to regular updates via Facebook, Twitter, or RSS.

Gamasutra and GDC are sibling organizations under parent UBM Americas