Speakeasy

In this latest episode of Devoted Speakeasy Ep. 27, host Ninel Anderson, CEO of Devoted Studios, engages in a captivating conversation with Allen Dilling, a true veteran of the video game industry. With a 25-year legacy at Blizzard Entertainment, Allen has been a creative force behind some of the most iconic and beloved titles in gaming history, including StarCraft, Warcraft III, and World of Warcraft. 

This episode is a fascinating look into Allen’s career, the evolution of art styles in gaming, and what it’s like to work on games that millions of fans love.

Meet Our Guest

Allen is an industry veteran with 25 years of experience at Blizzard Entertainment. There, he has led and contributed to several successful projects – StarCraft 2, WarCraft III, World of WarCraft, and more. Some of his core competencies include concepting, 3D modeling, VFX, user interface design, level design. Now Allen is an independent consultant with an emphasis on art and creative direction.

A Career with Iconic Titles

“I started as an animator modeler. That’s back when you kind of did that with everything and it wasn’t so specialized. So I have to animate models and texture everything.”

Allen Dilling’s journey at Blizzard began with StarCraft, where he started out as an animator and modeler. In those early days, roles weren’t as specialized as they are now, and Allen often found himself handling multiple aspects of game development, from animation to texturing. Over the years, he contributed to other big titles like Warcraft III and World of Warcraft.

Allen describes his time at Blizzard as being part of a big, creative family, where everyone worked together to make fun and engaging games. The early days at Blizzard were marked by a lot of creative freedom, allowing developers to experiment and follow their instincts.

The Changing Art Styles in Gaming

One of the big topics in this episode is how art styles in games have changed over the years. Allen talks about how Warcraft games became known for their oversized armor and weapons, which started out as a way to deal with the limitations of early game graphics. 

“One of the big specialties of Warcraft was creating much bigger armor and much bigger weapons, and that was pretty much due to the constraints of how the graphics and the pixels looked back then.”

This unique style has influenced many other games, especially in the mobile gaming world. Allen also mentions that games like Genshin Impact and League of Legends mix different cultural influences, creating fresh and appealing art styles that attract players from around the world.

“With new games like Genshin Impact and the Asian influences we’re seeing in League of Legends and other titles, I feel like there’s a new era of the art style that is coming. It’s almost like there’s a giant mashup happening in the industry.”

Creative Freedom and Challenges

“Back then we debated everything we made sure was cool. And then we just kind of went with our gut and just made fun, awesome stuff.”

Allen shares insights into the creative process at Blizzard, explaining how in the early days, there was a lot of freedom to make decisions based on what felt fun and exciting. However, as Blizzard grew, there were more layers of approval and analysis, which sometimes made it harder to innovate. 

He describes this as “paralysis by analysis,” where overthinking can get in the way of creativity. In larger companies, finding the right balance between creative freedom and business goals can be tricky. Allen reflects on how, in the early days, Blizzard’s creative team would often gather to pitch wild ideas and experiment freely. He recalls proposing “some crazy stuff over the years” and how those ideas, even the most unconventional ones, were often given a chance to shine. This open, experimental environment was a big part for fostering creativity and led to the development of some of Blizzard’s most iconic game features.

Devoted have talked about beating the common problem in the game development industry, click here to learn practical strategies. 

Handling Pressure and Anxiety

“We didn’t know enough to be scared. We were just like, you know, naive. And it’s like we can do anything, that’s just do this.”

Working on hugely popular games like StarCraft and World of Warcraft comes with a lot of pressure. Fans have high expectations, and making changes can be nerve-wracking. Allen talks about the anxiety of making sure they didn’t disappoint players while still trying to keep the games fresh and exciting. His advice for handling this pressure is to stay true to what made the games great in the first place while finding ways to introduce new ideas that surprise and delight players.

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Alle also acknowledges the emotional rollercoaster of game development, especially when facing feedback from the community. He remembers, after releasing Warcraft III, going online to read reviews, only to be met with harsh criticism. “I was so proud of myself… I’m going to go online and look at all the accolades. And… it was just like hate.” Despite the criticism, Allen emphasizes the importance of not letting a vocal minority overshadow the enjoyment and satisfaction of the broader gaming community.

Tips for Fresh Ideas

“I think if you’re creating something new, it’s about trying to make it fresh but also accessible.”

Allen also offers valuable advice for coming up with new and innovative ideas. He suggests looking for inspiration everywhere—movies, books, art, or you name it! Allen believes the best ideas often come from mixing familiar concepts in new ways, making them both fresh and accessible.

For aspiring game developers, Allen’s advice is to trust their instincts, be open to new influences, and not be afraid to take creative risks. “You can execute differently on it. There’s lots of ways you can tweak things and enhance them to give your own flavor and spin on it.” Allen’s approach encourages developers to take known concepts and infuse them with their personal creative vision to create something truly unique.

The Future of Real-Time Strategy Games

“I think there’s still a lot of hope for more accessible RTSs that are more for the masses.”

Despite the changes in the gaming industry, Allen is hopeful about the future of real-time strategy (RTS) games. He thinks there’s still a big audience for RTS games, especially if they can be made more accessible to new players. Companies like Frost Giant Studios are exploring new ways to bring RTS games to a wider audience, which Allen sees as a positive development. While RTS games may not be as mainstream as shooters, their strategic depth and loyal fan base mean there’s still plenty of room for growth.

_{Source:Wikimedia Commons}

Allen also discusses why there was never a StarCraft III, explaining that after years of supporting and expanding StarCraft II, Blizzard was not in a position to immediately embark on a new RTS journey. However, he believes that now, with time having passed, the community and developers might be ready to explore the RTS space again with fresh perspectives and ideas.

For more episodes featuring insights from top industry professionals, be sure to follow Devoted Speakeasy. Don’t forget to like, subscribe, and share your thoughts with the Devoted Studios community!

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Creating maps for one of the most popular gaming franchises, Call of Duty, is no small feat. There is creativity, collaboration, and a lot of hard work involved in it. Shaun Bell, a seasoned art director, working over 20 years in the gaming industry, eventually landing at Treyarch, the studio behind some of the most iconic Call of Duty games.

On Speakeasy Episode #25 this time, he shared his experiences and insights on how these iconic maps are brought to life. And so, we have summarized the process of how Call of Duty maps are created. Keep reading!

What Is the Process of Building Maps for Call of Duty Like?

It’s been said before and we will say it again: Creating maps for Call of Duty is a complex and complicated process that requires a lot of team effort. Shaun explained the process of building maps for Call of Duty, and here it is:

It Starts With Globe-trotting

The concept of ‘globe-trotting’ is a key staple that the team builds upon, as Shaun explained. 

“First, we think about what era we’re in and identify key historical moments that we can build ideas around and incorporate into the map. We start plotting down narrative elements from a story level and then map elements that align with those, ensuring alignment with the creative vision and the story.”

It begins with a deep understanding of the game’s historical setting. The team first determines the era in which the game is set and identifies key historical moments that can serve as inspiration for the map’s design. This step is amongst the most important ones because it provides a foundation for developing ideas and themes that are authentic and engaging. By doing this, the team can create a narrative backdrop that adds depth and context to the gameplay.

Then, after the historical framework is established, the team starts plotting out narrative elements and how they will be represented in the map. This involves integrating story-driven aspects with gameplay mechanics to ensure a cohesive experience. The design process includes considering how different parts of the map will reflect the historical setting and how these elements will guide the player’s journey.

Then, There Is Reference Gathering

The process of reference gathering begins with the creation of mood boards and style guides. These boards serve as a visual representation of the team’s creative vision and help everyone involved in the project be aligned with the same artistic direction.

Style guides complement mood boards by providing detailed instructions on the specific design elements to be used throughout the map, such as color palettes, lighting, architectural styles, and environmental details. This thorough preparation helps establish a consistent and immersive environment that reflects the era and historical context of the game.

“Reference gathering involves setting the tone of what this environment is about through mood boards and developing style guides.”

After That, the Design Collaboration Starts

Design collaboration is where designers and artists come together to shape the core gameplay elements of the map. This collaboration involves in-depth discussions and brainstorming sessions to determine the type of engagements players will encounter. For instance, the team decides whether the map will emphasize long-range engagements, which favor snipers and require open spaces, or close-quarters combat, which involves tight corridors and rapid confrontations.

Designers focus on the functional aspects of the map, such as player movement, sightlines, and strategic points of interest. They map out the flow of the game, ensuring that players have a balanced and engaging experience. Artists, on the other hand, bring these designs to life by integrating visual elements that support the gameplay. This includes designing environments that not only look visually appealing but also enhance the strategic depth of the map.

“Once we have a broad stroke of what the experience is going to be like, we talk with designers to get them on board. Designers start working through the core beats of the experience.”

Then Finally, the Actual Concept Development

During the concept phase, the main focus is on what players see when they first start a map. There is a design requirement to make sure players can quickly understand their surroundings and options. In Call of Duty, maps usually follow a three-lane strategy, which means there are three distinct paths or choices right from the start. This setup helps players make fast decisions, which is important because the game’s action is very quick.

“With Call of Duty there is an average of a typical three-lane strategy. So when you land into the map or when you start into a map you see what are your options ahead of you, and the time to kill is very short so we really try to present that information very clearly to the player.”

To make sure players can easily see their options, the art team must make each path look different. They use visual cues like different colors, lighting, and environmental details to make each path stand out. For example, one path might be brightly lit with open spaces, another might be a dark alley with tight corners, and the third might be an indoor area with unique features. The goal is to guide players visually without making it hard to see opponents. 

The Strategies to Speed Up Call of Duty Map Creation

To speed up the process of map-making in Call of Duty, the team relies heavily on proprietary tools developed in-house. These tools are tailored specifically to the needs of the game and allow the team to work more efficiently than if they were using generic tools available online. 

For each discipline within the team, there are specific tools that assist in their tasks, such as downloading textures or materials. However, the real efficiency comes from the ability to block out maps quickly using these proprietary tools.

Art directors start the process by working with concept artists to pull various assets from a large depot of pre-existing content. These assets, sometimes referred to as ‘kitbash’ assets, are either pulled directly from the depot or sourced online. However, to avoid legal issues and maintain originality, these assets are not used in the final concept. Instead, they serve as placeholders during the initial stages of map creation.

How Saun and His Team Overcome Production Pitfalls

Avoiding production pitfalls in map-making for Call of Duty mainly involves understanding the scope of each map. Initially, the team often aimed for highly customized and bespoke maps, but over time, they realized the need for a more streamlined approach, especially with the increasing number of maps required for downloadable content (DLC). 

Shaun mentioned one key strategy to avoid pitfalls is being more organized and deliberate about the development process. This includes clearly defining when to move from blocking out a map to adding details. Early detailing can hinder designers from making changes, so it’s essential to be thorough during the blackout phase. He explained, “The minute we start to get into detailing, it’s harder for designers to then go through and make adjustments, so we really try to be more buttoned up so that artists are not redoing work constantly.”

“We used to use a lot of analytics to kind of adjust from time to time, and now we’re being more predictive, more prescriptive of what we’re trying to do,” Shaun continued.

Multiple playtests throughout the map development process are also crucial in avoiding pitfalls. These playtests help identify issues such as lines of sight and visual noise behind players, allowing the team to refine and deliver clarity. 

In a Nutshell…

Creating maps for Call of Duty involves creativity, teamwork, and hard work. Shaun Bell, with over 20 years in the gaming industry, explains that it starts with understanding the game’s historical setting and using mood boards and style guides to keep everyone aligned. Designers and artists then collaborate to plan gameplay elements, using a three-lane strategy to guide players. We think it’s amazing how these steps come together to create such amazing maps. For the complete interview with Shaun Bell, check out the full episode!

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In the 26th episode of our SpeakEasy, our CEO, Ninel Anderson, chats with the amazing Minoh Kim, the Art Director behind hits like League of Legends, Valorant, and Call of Duty: Black Ops Cold War.

Minoh Kim is a well-known art director with a career that spans several top gaming companies and blockbuster titles, including Riot Games and Cryptic Studios.

He has been a big part of the visual development of League of Legends at Riot Games, helping create some of the most iconic characters and settings in the game. Minoh has also worked on Valorant, another major title from Riot Games, where his skills in character design and visual storytelling have been invaluable.

In this talk, Minoh shares invaluable insights on game art direction, team management, and the creative process.

How Teams are Organized Matter

Minoh shared some great insights into how his teams are set up. Each project has small, dedicated teams focused on different areas like visual effects (VFX), environment art, and concept art. These teams work closely together and with outside studios, which helps keep the creativity flowing and allows for lots of experimentation.

“We have resources for each discipline spread across all of game play. And so for each of the projects there are internal folks representing each discipline. So typically we have one or two point people. So, for example, in Arena, there would be one or two VFX artists, one environment artist, and one concept artist.”

Typically, there are key people in each team responsible for different disciplines. For example, in his new Arena project, you might find one or two VFX artists, an environment artist, and a concept artist. This setup allows for flexibility and rapid development. 

Despite being relatively small, these teams are very efficient, constantly working on research and development (R&D) and prototyping.

Why Constraints are Important

Interestingly, Minoh believes that having limits is actually helpful. He thinks that without constraints, nothing would ever get done. A balance between planning and doing is key; too much paperwork can slow things down, while just jumping in and working can lead to more creative results.

Players always want exciting new content, like cool arenas and sequel environments. However, when a team is only given limited resources and multiple projects happening simultaneously, it’s essential to decide where to allocate time and people. 

Minoh pointed out that constraints such as budget and time limitations help focus efforts and make sure projects are completed. Without these constraints, it’s easy to get lost in endless possibilities and never actually finish anything.

“I don’t think we could create anything cool if we were not constrained and. I feel like if we were not constrained by anything, we would never ship anything ever.”

Sometimes, You Have to Be Able to Work With Limited Resources

This can be the biggest challenge for many game artists. But in game development, although making great content is a top priority, but sometimes, resources are limited. Minoh talked about the challenge of spreading resources across multiple projects. This leads to having a proper budgeting and planning are necessary to make sure everything gets done on time and to a high standard.

“If we had, you know, unlimited amounts of money and funding and stuff, yeah, it’d be great to make more cool stuff for players.”

Minoh discussed how his teams often have to make tough decisions about where to allocate their efforts. With many initiatives and projects running concurrently, it’s important to prioritize. Sometimes, they have to be resourceful and scrappy, making the most of what they have.

Understanding The Creative Process is Important

“There’s always this ratio of where you want to spend your time. Do you want to spend time producing things, or do you want to spend time writing to communicate?”

As a game art director, Minoh understands that coming up with new ideas is a mix of structured planning and organic creativity. Initial sketches and ideas are explored thoroughly, and sometimes the first idea turns out to be the best. 

The ideation phase involves brainstorming and sketching out different ideas to see what resonates. This process can last for weeks or even months, depending on deadlines. Sometimes, the first sketch turns out to be the right direction, but the team still goes through a vetting process to ensure the idea holds up.

Defining the “right” idea isn’t a robotic process. It’s more about whether the essence of the character or setting speaks to the team. There are design briefs and high-level directions, but there’s room for flexibility. If a particular vision is not coming together, the art or narrative direction can shift to find a better fit.

Diversity in Character Design

Minoh’s work on creating Valorant characters shows his commitment to diversity. The characters come from various backgrounds and cultures, reflecting a wide range of accents and aesthetics. This inclusive approach helps players from around the world connect with the game.

From the start, the Valorant team aimed to create a diverse cast of characters. They included people from different cultures, backgrounds, and regions, ensuring that players could see themselves represented in the game. This goal wasn’t just driven by the art team but was a collaborative effort involving production, narrative, and other departments.

The launch roster of Valorant featured characters with varied appearances, accents, and cultural influences. This diversity was not just about visual representation but also included different personality traits and backstories. And through this, Valorant characters became more relatable and engaging for all players.

“We wanted to push the diversity of the cast as well. If you see the entire launch roster of Valorant, it’s like, oh, well, we have characters from different backgrounds, different cultures, all sorts of things, different accents, everything.”

Content is King

Minoh believes that having great content is very important. He shared that when they first released Arena, they learned a lot from player feedback. They used this feedback to make improvements and released a small content update. They repeated this process by gathering more feedback, making more adjustments, and releasing a new version of the game.

“There were things that we learned with the first release of Arena. We took player feedback, made some adjustments, and released a small content update in December. We did the same thing, took in additional player feedback, made some adjustments, and then put out a new version,”

Content is what keeps players coming back for more. Fresh content means new challenges, stories, and experiences that keep the game exciting. It also helps build a loyal player base, as players are more likely to stay with a game that constantly offers something new.

“Maybe we could spend more time on developing additional content for players because content is king.”Additionally, great content can attract new players, expanding the game’s community. By providing a variety of content, game developers can cater to different player preferences and play styles, making sure that everyone finds something they enjoy. 

Additionally, great content can attract new players, expanding the game’s community. By providing a variety of content, game developers can cater to different player preferences and play styles, making sure that everyone finds something they enjoy. 

Attention to Detail in Game Art

For games like Valorant, where characters are seen up close, the level of detail is essential. Minoh talks about adding intricate details to character models, making them look and feel more realistic and engaging.

In first-person shooters like Valorant, players often see characters’ hands and forearms up close. This proximity requires a high level of detail, from the texture of gloves to the tendons on the hands. These details make the characters feel more real and immersive, enhancing the overall gaming experience.

Minoh’s team pays close attention to these details, to make sure that every element looks polished and believable, that it can captures the unique Valorant art style.

“We want to see extra details, you know, on the gloves, you know, you want to see things like the tendons on, you know, on the hands, you know, because it’s very close up to the camera.”

There Are Many Different Disciplines That Come Into Play When Building Maps

Understanding how to create game maps involves a detailed and iterative design process. When building maps, there are many different disciplines that come into play, even for smaller modes like arena.

“There are a lot of different disciplines that factor into even like a smaller mode, like Arena.”

For example, UX designers need to redesign the user interface (UI) to fit the new mode. They make sure players can easily find information, like which team they are fighting, their team’s health, and what happens if they lose a battle. This helps players understand the game better.

Next, visual designers come in to make everything look good. They create the visual elements like boxes, icons, and frames. This takes a lot of work and time, with many people working on it for months to get it right. 

Engineers also play a big part in making sure all the designs work properly in the game. They implement the designs and make sure everything runs smoothly. Even creating a small icon for a new item involves several steps. Designers think of the idea, and then the visual team draws and finalizes the icon.

Every small part of building a game map requires careful work and teamwork. This ensures that when players play the game, everything looks and works perfectly, making the game enjoyable and easy to understand.

In a Nutshell…

Constraints, collaboration, and understanding the creative process are a blueprint for creating iconic and memorable gaming experiences. For instance, in games like Valorant, art direction plays a big role in defining the visual identity and enhancing player immersion. Game artists work meticulously on character models, making sure they align with the distinctive Valorant art style.

As Minoh’s explained, in first-person shooters such as Call of Duty, especially Call of Duty: Black Ops Cold War, the level of detail in weapons is essential. Game artists focus on intricate details to make weapons look and feel realistic. This attention to detail is part of the broader art direction that brings the game to life.

Creating engaging game maps, whether for Valorant, Call of Duty, or other games, requires a deep understanding of how to build game maps effectively. This involves not only designing visually appealing environments but also ensuring they improve gameplay. Collaboration among designers, artists, and developers is key to this process.

League of Legends game development shows how art direction, character design, and map creation come together to create a cohesive and engaging experience. By understanding and integrating these elements, game developers can create games that are both visually stunning and highly playable.

Check out the full episode of SpeakEasy #26 on YouTube

We find ourselves comparing the GameDev industry’s past to its present while discussing its future. Think back to news about the thrill Ubisoft developers felt when Prince of Persia: Sands of Time was released in 2003. They knew full well that the game’s captivating gameplay and plot would draw in players.

As we fast-forward to the present, we observe a clear evolution in game creation techniques, with a noticeable trend towards online and open-world games—the “finish line” for a game used to be its release. For modern games, though, the release is only the beginning—many bug patches and content upgrades are still to come.

Today in SpeakEasy, we are privileged to have Serge Knystautas, a seasoned expert in the game production department, share his invaluable insights. His expertise has been instrumental in ensuring games.

About Serge Knystautas

Currently employed by the company as an engineer, Serge Knustautas has had an exciting career path that began with creating email servers based on Java and led him to work on projects like Singularity 6 and other well-known games like Valorant.

Serge is well-versed in the game production industry’s current trends and controversial nuances. He has seen the successes of AAA games firsthand and actively contributed to creating popular online gaming experiences. Moreover, his vast knowledge allows him to predict how AI will change the game development industry in the future. 

We cover a variety of subjects in our interview insights with Ninel Anderson and Serge Knystautas, including:

• Wants to configure the most influential work of the development department;
• Plans to choose a relevant direction for its future game;
• Preparing for AI to take a job from developers.

One of Serge’s main superpowers is teamwork. Thanks to the work on sports games at Prestosports, our guests know how to set up effective teamwork. And about this, below.

Four principles of modern game developer work

If you pay close attention to what Serge has to say, you’ll pick up four valuable tips that are essential for game creators to know:

1. Listen to the player: Use a Community Manager’s help to interact with gamers to determine what should be created first. Players express many wishes simultaneously, and only skilled community managers can translate this cacophony into insightful information. Even though you can have your vision, players naturally point you in the appropriate path for the following improvements. Prepare to compile and rank upcoming features appropriately.

2. Set proper priorities: Trying to do everything at once will always result in less productivity when finishing chores on time. Prioritize your tasks and give them your best effort.

3. We don’t like simple! Accept challenges: You should assemble a team of eager developers for complex tasks. When challenges are seen as opportunities, the idea of problems is replaced with positive potential. These kinds of functions draw talented people who make excellent games.

4. Add a little chaos: While control is still necessary in any undertaking, allowing for some managed anarchy is also essential. While following plans to the letter may appear convenient, controlled chaos encourages creativity and may result in original solutions. Now and again, they stray from the conventional and adopt a different viewpoint on well-known components. It helps with both avoiding bugs and making complex problems easier to solve.

You will profit more from your work if you apply these concepts.

Briefly about AI and GameDev

Have you heard the rumors that AI will soon supplant programmers? Serge frequently evaluates the capabilities of AI platforms and contrasts them with the output of other expert teams. After this process, he concluded that while AI cannot completely replace GameDev developers just yet, such platforms can still be useful.

What precise function does AI serve in game development, then? Listen to our guest on the Devoted Studios YouTube channel for in-depth analysis. With a wealth of other insightful information, Serge dives into creating an efficient development team in GameDev and offers helpful advice.

You’ll learn more about the possible uses of AI in game development and how to maximize the performance of your development team by hearing about Serge’s experiences and knowledge.

Are you a fan of playing with Legos? You may be harboring brilliant ideas for a Lego-based or Marvel-inspired computer game, complete with other licensed concepts on your shelf. In such a scenario, insights from Emmanuel Valdez, Art Director at 2K Games, can prove instrumental in defining a development strategy and sidestepping potential legal pitfalls.

Ninel Anderson, CEO at Devoted Studios, has thoughtfully curated questions addressing key aspects you might inquire about when meeting Emmanuel. Join us as we collaborate with licensing companies to bring game concepts to life.

Brief Info About Emmanuel Valdez

Emmanuel Valdez – a seasoned Licenses & Brands Expert with three decades of experience in the gaming industry, boasts an impressive portfolio of games and diverse expertise from various companies. Below you’ll see a list of the games he’s worked on and the companies where he’s acquired expertise.

He has been instrumental in setting up and refining art departments for companies focused on both mobile and console platforms, throughout his professional journey. One of his standout skills is harmonizing company licenses to ensure a mutually satisfying collaboration.

Notably, the game Lego 2K Drive, under Emmanuel’s guidance, secured four nominations for the NVGTR Awards — and accolade affirming his adept navigation from game concept to market success tailored for a specific target audience.

How to Work with Brands Licenses?

Crafting games under license introduces unique challenges compared to conventional game pipelines, as each party sees itself as the primary driver in the development process. While the ultimate goal is to create an extraordinary game that amplifies the brand’s popularity, aligning visions on what constitutes the ‘best game’ can be a delicate negotiation.

In the past, creative autonomy was more prevalent, but now, safeguarding your position is crucial. This necessity led Emmanuel to master the intricacies of licensing game development.

Explore Licenses

The initial step involves immersing yourself in the brand’s universe by watching movies, playing existing games, and reviewing additional materials. This exploration aids in comprehending the characters and the interiors and exteriors of the envisioned game world. 

For instance, Emmanuel delved into multiple Jason Bourne films before embarking on a game project, contemplating how elements like a pirate hat or a mission on a Dutchman would fit seamlessly into the game.

This phase serves as a foundation for shaping your vision of the game and facilitates coordination with Brand representatives on potentially contentious elements.

Your game is a continuation of the story

Embracing the Transmedia effect, as previously discussed with Neel Upadhye, is vital. Emmanuel’s experience affirms that creating a game shouldn’t be an isolated endeavor; it should either introduce a new adventure or continue an existing narrative. Such an approach increases the likelihood of attracting a broader audience.

In the gaming industry, storytelling is gaining prominence, and brands, based on practical experience, are unlikely to grant licenses without a clear purpose. Therefore, weaving another chapter into the narrative becomes an opportunity to infuse fresh life into the game and secure a meaningful connection with the audience.

That’s all?

Of course not. No more insights from Emmanuel Valdez in the YouTube video we posted below. Watch it to the end and you will know:

• More insights about working with licenses in video games.
• How to be an Art Director and a Co-Founder.
• How to build a production pipeline on working with different Brands and more valuable things.

Subscribe to the channel and follow the news, because the site has many more interesting insights from the GameDev World.

We are accustomed to associating the term “storytelling” with lengthy journal articles and copywriting. However, tonight, Neel Upadhye, a guest on Devoted SpeakEasy, will revolutionize your perspective. He will elucidate how storytelling played a pivotal role in his creation of legendary games such as Apex Legends, Battlefield, and Star Wars.

The discussion will also delve into a novel and unique phenomenon coined by Neil as “Transmedia.”

• What does this term signify? 
• What does it feel like to choose between a position at a Hollywood post-Production Studio and a role at Electronic Arts?
• Why is content crucial in propelling the gaming industry forward? Inspiring answers to these inquiries await you below.

Let’s check it out.

What do we know about Neel Upadhye?

As Neel himself asserts, storytelling is the passion of his life. Every facet he has touched during his 14-year career is infused with a unique history. By the time of his release, he graduated from USC Film School. That time, he held two enticing offers that any teenager could dream of – the opportunity to work at a Hollywood Post-Production Studio and an editor’s assistant at Electronic Arts. Ultimately, he chose a career at EA, but it was a challenging journey.

For us, enthusiasts of gaming, the choice might seem obvious. However, while he endeavored to embed storytelling into EA products, his former classmates sipped coffee with stars like Seth Rogan or Seth McFarland.

Neil has now earned recognition as a storytelling genius in the gaming industry. His short film based on Apex Legends earned him a Webby nomination, and Daisy Dating secured him an Amazon Prime award. Additionally, Neil collaborated with Lucasfilm on Star Wars and Battlefield.

“…let me inform you about the product, and then you’ll buy it…”

Through his work at EA, Neel adeptly illustrates what storytelling entails in the gaming industry. Envision having a genuine content creator at your disposal. The outcome is an abundance of content that demands a unique approach. It’s not just about amassing content; it’s about effectively utilizing and disseminating it to the public.

It is where the term “Transmedia” comes into play. Its implementation enables us to refine user interaction. The more effectively we can disseminate game content to users through various media channels, the greater the likelihood that players will return to the game, enhancing their overall gaming experience.

It’s crucial to recognize that a game is more than just a process; it also involves your efforts to broadcast the game’s narrative on social networks. And in achieving this, storytelling becomes an invaluable tool.

So, what the Transmedia is?

“Transmedia” is the term we use to describe the broadcasting of a game story to viewers. While it undoubtedly serves a commercial purpose, it diverges from the conventional advertising we are accustomed to. Instead, it represents a comprehensive narrative shared with users across various social networks and web platforms.

In simple terms, Transmedia aims to captivate users by narrating a story and enticing them to engage in the game actively. It means the player becomes immersed in the gameplay long before entering the game. Consequently, their gaming experience becomes more immersive and diverse, as they are not merely playing but actively contributing to the character’s story.

Working in a Startup VS Working in a Company: Is there a different approach?

Over his 14-year tenure at EA and subsequent work at Azra Games, Neil realized that the approach to work significantly differs between these two environments.

• Within a large corporation like EA, one gains access to extensive resources, enabling faster and more precise execution. The expectations are high, as EA is a significant player in the market, necessitating an unwavering commitment to excellence.
• On the other hand, working in a startup environment may not provide a carte blanche on the budget, but it grants creative freedom to achieve innovative results.

These insights merely scratch the surface of the revelations uncovered in an interview conducted by Ninel Anderson (Devoted Studios, CEO). The complete video is available in the article below, where you can delve deeper into:

• The creation process behind Apex Legends short films.
• Storytelling insights from Battlefield 2042.
• The intricacies of developing a strategy to promote a gaming company on TikTok.

The profession of Weapon Artist with Ryan Lastimosa:  Devoted SpeakEasy E14

The gaming industry is one of the most exciting and competitive fields to work in. Designing and developing games that capture the attention of millions of players around the world takes a team of creative and dedicated individuals. To succeed in this ever-evolving industry, you must have an edge, and who better to give us some insight into this than Ryan Lastimosa?

Ryan Lastimosa is an exceptional figure in the gaming industry, whose expertise and creativity have led to the creation of some of the most iconic weapons in the world of gaming. With an illustrious career spanning several years, Ryan has collaborated with industry giants such as Respawn Entertainment and Infinity Ward to produce outstanding games. For instance, he played a pivotal role in the development of Titanfall 2, where he provided team leadership and contributed to 3D modeling and concept art. He also streamlined the 3D art pipeline for weapons, characters, and vehicles, resulting in the game’s impressive visuals. Furthermore, Ryan directed a team of lead artists specializing in Hard Surface and Character Art for Apex Legends and provided hard surface artwork for Call of Duty 4: Modern Warfare and Call of Duty: Modern Warfare 2.

Throughout his 17-year tenure in the gaming industry, Ryan has demonstrated an unwavering commitment to innovation, continually pushing the boundaries of weapon design to create the best models possible. His attention to detail and wealth of experience has earned him a reputation as a true inspiration to fellow gaming enthusiasts.

If you’re a gaming enthusiast looking to build a successful career in the industry, you won’t want to miss this exclusive interview with Ryan Lastimosa. In this discussion, Ryan shares invaluable advice on what it takes to build a dream career in the gaming industry. From building weapon art teams in shooter games to creating functional and visually appealing weapon designs, Ryan offers insights on how to master the skills necessary to succeed as a weapon artist. He also discusses the importance of tactile referencing and his experience creating a new archetype of a weapon for Titanfall. Additionally, Ryan shares tips on how to get hired to his team and potential ways of collaboration between films and video games. Tune in to learn how to become a better artist or game developer and create your own success story in the gaming industry!

Watch the episode at the link:

Timecodes for your quick navigation:

0:00 — Intro

0:34 — Meet Ryan Lastimosa — guest’s introduction

1:07 — Building Weapon Art Teams in shooter games

5:38 — Functional design vs Cool-looking design: what works best for weapons creation

9:04 — How to become a weapon artist and how to master the skills

11:23 — What tactile referencing is

13:47 — Creating a new archetype of a weapon for Titanfall

15:45 — How to get hired to Ryan’s team

19:38 — Potential ways of collaboration between films and video games

25:55 — Ways to become a better artist or game developer

Welcome to an extraordinary episode where we dive deep into the captivating world of animation. Join us as we embark on an exhilarating journey filled with insights, revelations, and the secrets of success in this ever-evolving industry. In this episode, we are thrilled to have a distinguished guest, Harvey Newman, a renowned figure in the animation industry. With his vast experience and remarkable achievements, Harvey is here to share invaluable knowledge and shed light on the future prospects, challenges, and common mistakes made by animators. 

Meet Our Guest

Harvey Newman is a highly respected and accomplished figure in the animation industry, and we are honored to have him as our special guest in this episode. With his extensive experience and expertise, Harvey has left an indelible mark on the field of animation. As a distinguished BAFTA Board Member, YouTube blogger, and former Animation Director at Build a Rocket Boy, he has contributed to groundbreaking projects and worked with some of the biggest names in the industry. 

The Topics We Discussed in the Episode

In this episode, we will also delve into the fascinating world of gaming animation and its promising future prospects. As technology continues to advance at an unprecedented pace, gaming animation has reached new heights, immersing players in rich and lifelike virtual worlds. Join us as we gain valuable insights from Harvey Newman, and uncover the secrets to success in this ever-evolving field. 

Don’t miss out on this enlightening opportunity to stay at the forefront of the gaming animation industry!

Timecodes or your navigation:

( 00:00 ) – Episode teaser
( 00:44 ) – Guest Introduction – Harvey Newman
( 01:52 ) – The future of animation with AI
( 04:10 ) – AI Tools to simplify the research process for animators
( 06:21 ) – Keyframe VS Mockup – which will be disrupted first?
( 09:06 ) – Metahuman animation in UE5
( 11:09 ) – Main challenges for animators now and in the nearest future
( 12:09 ) – How to make original showreels
( 16:33 ) – Challenges of AAA production
( 19:21 ) – Setting up an animation department
( 21:54 ) – How to build cooperation between departments?
( 25:19 ) – How to establish a brief standard for animators?
( 26:40 ) – How to set your boundaries?
( 27:46 ) – Cooperation within the animation department
( 30:30 ) – The most common mistakes of animators
( 32:25 ) – How to stay inspired while cleaning up mock-ups
( 37:30 ) – Outro

Have you ever wondered how the epic battle scenes in your favourite blockbuster movies were created?

The answer might surprise you. Some of the biggest Hollywood movies today are being produced using Virtual Production technology.

Virtual Production is a cutting-edge technology that uses game engines and real-time rendering to create movie scenes in a virtual environment. This technology has revolutionized the way movies are made, enabling filmmakers to create photorealistic environments, characters, and visual effects in real time.

In this episode, we’ll be discussing the incredible possibilities that Virtual Production offers filmmakers. We’ll be joined by a special guest, Noah Kadner, a renowned figure in the Virtual Production world.

Meet Our Guest

Noah Kadner is the founder and editor-in-chief of VirtualProducer.io, co-founder of The Virtual Company, and a senior writer for Epic Games, Apple, and American Cinematographer magazines. He is also the author of the Virtual Production Field Guide series for Epic Games and the host of the Virtual Production Podcast.

The Topics We Discussed in the Episode

During the episode, we’ll explore the skills required for artists who work with Virtual Production technology, including game engines like Unreal Engine and Unity. We’ll also discuss the demand for professionals in this field, which is growing rapidly as more and more filmmakers adopt this technology.

But Virtual Production isn’t just limited to the movie industry. It has the potential to transform many other industries, including architecture, automotive design, and even education. We’ll discuss the exciting possibilities of Virtual Production in these fields as well.

Finally, we’ll take a look at how to get involved in Virtual Production and start creating Hollywood’s biggest blockbusters. Whether you’re an aspiring artist or an experienced filmmaker, this technology offers incredible opportunities for creativity and innovation.

So, tune in to this episode of our podcast to learn more about the exciting world of Virtual Production and its potential to revolutionize the way we create and experience media:

Timecodes for your convenient navigation:

( 00:00 ) – Intro
( 00:44 ) – Our guest – Noah Kadner
( 01:20 ) – VP: Combining movies and videogames
( 05:12 ) – How to start doing Virtual Production
( 09:41 ) – Virtual production process and stages
( 12:06 ) – VP Market Share
( 15:05 ) – How to get a job in Virtual Production?
( 16:19 ) – Industry difficulties and areas for improvement
( 18:44 ) – Evolving technologies
( 20:04 ) – AI for Virtual Production
( 23:04 ) – NeRF models in VP
( 24:30 ) – How VP can be used beyond the movie industry