Composition

Composition is one of those key art disciplines that you cannot ignore whether you enjoy painting people, environments or machines – solid compositional skills are a must. I would go as far to say that even conceptualising potential silhouettes for a design is loosely related to composition as the fundamental key to a good silhouette is that the shapes work well together creating a certain level of impact. This is the same as organising the space in an environment painting. However, regarding pictorial composition there are a few key structures. Firstly we have the rule of thirds which turns the picture area into a grid of 9 equal parts. It is pleasing to the eye if focal elements are placed on either of the 4 cross sections. A similar idea is the Fibonacci curve which looks like a large spiral which is made by tiling squares whose sides are consecutive Fibonacci numbers. Essentially it is a more organic flowing version of the rule of thirds. It is an approximation of the golden spiral.

I used to mistakenly assume that there was more to composition than these basic principles and whilst there is, this belief led me to not properly understand the basics. I thought that such rigid ideas could only produce the same types of images but I have gradually learned that proper use of compositional elements such as size, shape, repetition etc can take advantage of the rule of thirds to produce extremely strong and imaginative compositions.

Charles Bernard in his art trek videos surmises the principles and elements of design/composition as the following –

Principles of Design
• Unity
• Harmony
• Gradation
• Contrast
• Balance
• Alternation
• Dominance
• Repetition

Elements of Design
• Shape
• Value
• Direction
• Size
• Texture
• Colour
• Line

The premise is simple to understand but practise is needed to successfully utilise them effectively. Using them in conjunction with the rule of thirds for example would be a good starting point.

Moving on, an interesting area of discussion revolves around how composition applies to 3D artists. In my opinion, it actually requires a greater mastery. A 3D artist must at all times be able to consider how the scene elements work together from different angles. Each asset added to the scene needs to be thought of in terms of how it will eventually be viewed.

In many respects, this is very similar to what a set designer does. They too need to understand how the set will eventually come across on camera. This forethought is something that comes from being an artist. In my opinion all creative people benefit greatly from an artistic understanding of composition.

There is however one key difference that makes a 3D artist’s job even more complicated – the in game ability to control the camera. With set design and games using a fixed camera system the composition of each scene can be directly controlled. However in games where the camera is controlled by the user, the angles at which the world can be viewed are almost limitless. Whilst perfect compositional harmony cannot exist at absolutely all angles it’s definitely something that can greatly enhance the experience if kept in mind.

I was recently playing the new Assassins Creed and I was on top of a rather tall building admiring the view of the city stretching off into the distance. After diving into the city and running around for a bit I then got thinking about how good it looked and how everything flowed and even a bog standard street looked easy on the eye. The little things such as the placement of various barrels, hay, wagons and even platform enabling ledges all just worked together. I then went on to think how much of a nightmare it must have been to make the game world work visually on all these different levels. It is almost like there are different layers of composition in games.

One last point I’d like to make about pictorial composition is that I feel it is possible to completely over saturate an image by using too many compositional elements. When I first started to really think about composition I attempted to use every principle and element I knew to make it perfect. However what I was unknowingly doing was constricting the image. By using everything I knew I was greatly limiting what I could do with the picture as it had to conform to so many rules. I now know that a good use of composition will utilise a handful of elements but use them creatively.

Nowadays my own use of composition is ok – I would say it is not bad, but I really need to strive to make it more exciting and creative.

Addiction and Games

I've just watched the Panorama episode dedicated to games addiction and am rather annoyed. Although the program doesn't portray games in a completely negative light, it definately swings further that way.

The program calls for games addiction to be a recognised medical condition, and for research to be undertaken to this end. The problem with this is that looking at the games is never going to give anyone any answers. A better study would be to look at addictive personalities and to try understand why certain people get addicted to just about anything, games included.

The way i see it, fun is addictive. If you are enjoying yourself, and feeling elated and happy you will obviously want to continue doing the activity in question. It drives everyone - who can honestly say that they don't like having fun? It's in our very nature to enjoy ourselves.

The problem arises when an individual has a lack of satisfaction in their life. Without a variety of things to immerse yourself in it is more likely you'll lock down on one specific thing. Gambling addiction is a good example as the people who participate obviously get their own personal high from the rare win. Presumably nothing else in their life gives them such satisfaction. It is rather sad to be honest but happens all too often.

I personally don't play games often. When i'm with friends i play utilising them as a bonding activity and if ever i genuinely have some free time ahead such as a holiday i'll probably try and kick back with a day of gaming. The important thing to note here is that i'm so busy i rarely see friends of have free time. I prioritise what is important to me in my life and i am fortunate that my chosen career as an artist is very rewarding and enjoyable to me. I am also lucky to participant in a wide variety of activities other than gaming and as such i am well aware that games are simply another means of entertainment. To this end, to get the most out of them i choose very carefully when i will play them.

I would say that pretty much all game addicts are not satisfied with their lives and use games as a means of escape and entertainment in one. Of course, the question remains as to why they simply don't seek out other entertainment or a better life. The simple answer to that is that we are not all the same, whilst it may be second nature for some of us to actively seek out new experiences it is not always the case.
Their life experiences have obviously cultivated the personality they have.

Obviously this requires a much greater in depth analysis which i may undertake over christmas but for now i just had to rant about the program.

Games should not be held accountable for addictive personalities. Games do not force people to play them. They encourage people to come back, but just how often an individual comes back has nothing to do with the game itself.

A Plan

I read the concepting link on Blackboard years ago, completely forgot about it until i saw it again. It is a great example of the process an artist should go through in order to create an image.

I'd like to think it's exactly what i have been focusing on this year. Really making sure i do my research before starting a final. Generally my process involves generating a successful thumbnail and a few variations, then to produce either a pencil or digi paint of the values as a quick paint over. If i'm working in colour i will then spend some time creating a palette, and outline in my head the order in which i will work through the picture. Lastly, before getting in to rendering i will get my reference images. Once all of this has been done, it really is as simple as painting by numbers.

The only problem i'm having this year is that i feel as if i have rushed alot of my final pieces, most notably the first few weeks.

When the vehicle project rolled around i thankfully had last year to fall back on. I spent ages on it last time trying to learn how to concept something and thankfully i recalled the same process this time.

Using photoshop i bring in random photos and start sketching the negative space and just look for any interesting shapes that i can pick out. Once this is done i do some additional scribbles off the top of my head. Then i go through and pick say about 6 that i really like and work them up a little bit. Up until this stage i stictly focus on the silouette but here i add some detail. Then i may wipe the detail and work into the same designs with different detail. Generally i will repeat this process a number of times until i have a design i like.

Once i pick one it is then time to get reference together and render up!

My process is ok. It isn't great, but it's way better than it used to be. This year i would rather spend all my time concepting stuff and not produce any finals at all. It sounds stupid, but i know i can produce a final, rendering is my thing, there is no point in endlessly rendering things. I'd much rather spend the time concepting and doing quick paintings, so that when i do sit down and spend some serious time on a final it's better because of it.

I think the main thing i need to do to continue to improve my process is to make it more habitual. Although my process works for me, when set a task my first instinct is still to jump straight in and that's holding me back because i think it influences the process and makes it less free. My first thought literally needs to be open and free and just dive into shapes and compositions first.

Essentially a professional process will produce a professional outcome (or at least it will go a long way in doing so)

And in this industry, concepting and design is everything!

Guest lectures

Thought i'd cover Blitz and Del's lecture in one. The Blitz lecture was great. It was extremely helpful and encouraging to hear that they are interested in the people on our course and also to hear what they are looking for in a potential employee. Jolyon's talk was much the same as last years albiet with a slighty greater amount of content. The premise was however the same. I asked a question regarding our chances of being hired compared to people that have been in the industry much longer. I kind of figured that they would have the edge, being better artists and more experienced however both Aaron and Jol said that they tend to prefer competent graduates over more experienced industry veterans. The reason being for this is that veterans tend to be a little jaded and less passionate and enthusiastic. This was good news to me as i have always had the mindset that there is always a better artist than me out there. Perhaps not the most productive mindset but there you go. Solid core skills and a real passion to do well should be a good start in getting noticed.

Del's lecture was a real surprise. Not that i thought it would be bad, just that i had no idea what he was going to talk about. He made some great points and though he was slightly nervous at first he delivered in my opinion a fantastic lecture. I particularly liked the few stories he told. The one about badly wanting air hit home the most. I feel that last year i wanted air more than anything else but this year i'm quite content under water. The problem is that i can't figure out what changed. I guess the ridiculously long summer didn't help but although i didn't do much work i was still regularly learning, studying anatomy and colour plus learning to use Painter. I think the real reason i feel a bit stagnant right now is that im not learning.

Having said that, i wrote this entry last week in my sketchbook on the train. In the time it has taken me to type it up i feel like i'm back on form. I'm slightly behind with one final but other than that i feel i'm on top of things and my current final i'm working on for this week feels like a real step up from last year so i'm pretty chuffed with it. I have always tried to make each piece of art the best thing i have done up until that point. Last year i can safely say that that was the case for most of the finals as i did them. The first 4 weeks this year however were pretty terrible. This in turn had me feeling rather dejected. I'm glad i've put that behind me now and i guess it was an important process to go through.

Additionally, in regards to the guest lectures, it would be awesome to get some experts in their field in to give us specific lectures. For example a 2 hour session from a perspective expert or colour theory master would do wonders for everyone. A friend of mine on a design for film and television course had a perspective expert in and she said it was extremely helpful.

Dreams

Having recently spent 5 months at home, my perspective on the future has rather radically changed. When Year 1 ended, I was riding the crest of University and consequently couldn't see the bigger picture. Looking back I'm not sure what I thought, however that's partially the problem. It took the down time for me to realise life goes on, no matter what you do. This much I already knew, but it sunk a little deeper over the summer. Next year marks the advent of my last summer - by which I mean that after Year 3 I should be working full time. It's not the biggest revelation reading it back but it was at the time.

I found myself asking ‘What does it mean to be an artist? It seems as if all my life I've had an unreachable goal. When I first fell in love with drawing I never thought I’d be an artist. When I got good at it I never thought I could be a game artist. Finally, when I wanted to be a concept artist, it seemed an even more unlikely possibility.

Who am I kidding? I will never be the artist I want to be. That's the first step. Why? It’s because the artist I aspire to be is based on the idealization of other concept artist’s work. Try as I might, my fine art background will not budge. This isn’t the worst thing that could happen, but seeing as I desire to be more conceptual it's not very helpful. I almost think I should stop looking at other people’s art because it's so different to mine. As proud as I am of the work I produce I can't help but be unhappy with it on some level.

So I probably won't be a concept artist. But I'll be an artist. My philosophy has always been to be the best artist you can be. That's pretty much all there is to it. There is a lot of talk about how to get into this industry and whilst it’s not unhelpful, all it boils down to is being a good artist. If you are an artist, you will see how an artist sees and learn and snowball as they do. To be immersed in colour, to recognise perspective, and to observe anatomy. To live and breathe art is to truly be an artist. I wonder how many people who call themselves artists actually are. I sometimes wonder if I can even consider myself an artist. Am I as passionate about art as I should be?

I would have loved to have lived when the masters did; I envy them, to be so close visually to this world. To get up every day at dawn and sit and draw the ever changing colour. Sod the money and the luxury, I'd give it all up to go live in the country and paint every day. As long as I've got enough food to live, I'd be happy.

That's the somewhat ridiculous dream. You never know, it might happen. But it most likely won’t.

The more achievable dream is to work for Naughty Dog or Santa Monica Studios. They are the makers of Uncharted 2 and God of war 3 respectively. Those teams are true artists. Seriously breathtaking work.

I've recently succumbed to 3D. Del made a good point when he wrote, “if you don't like 3D then that's probably because you are shit at it.” That hit home. I mean if I was proficient at it, I still doubt I would enjoy the outcome anywhere near as much as a 2D image but nonetheless I wouldn't dislike it as I do now. At the end of the day if I end up as a 3D artist that's not where I want to be. But to put it in perspective, would I rather be working at Tesco? Obviously the answer is no. So 3D wouldn't be the worst job. I've barely invested any time in it, though I'm competent enough. Therefore my goal for this year is to invest some serious time. Modelling is the same as it would be in real life just with that infernal program in the way. Just need to learn it inside out and let the artist within do the rest. Already this week the treasure chest model seemed to come out of nowhere and I haven't done any 3D since last year so I was surprised that I remembered everything.

In terms of concept art it’s pretty simple. Keep hammering away at the fundamentals and apply it all to this process -> http://www.adamnichols.net/tutorials/concept-art-process-101.php?id=8

One day.

The Course

So at then end of the first year, what do i think about the course? It's pretty much exactly what i had expected and if anything a little better. I very much enjoy the visual design part and that, first and foremost is why I'm here. The game production side of things is actually more fun than i imagined it would be. I've clearly got better since day one. My only concern with the 'balance' of 2D and 3D in the next 2 years is that it seems to shift more to the 3D. This may be just because 2nd/3rd years are personally going in that direction, or it may not.

I would like to actively pursue the conceptual art side of things as the course progresses. Don't get me wrong i intend to keep improving my 3D but i will never consider myself a 3D artist and never wish to be employed purely as one. I don't mind doing 3D work as a supplement to my 2D, to help visualise and conceptualise it. However making assets is not really my thing. That is probably why I'd rather end up in the film industry rather than game.

All things considered i still consider this course to provide the opportunity to best learn a wide range of skills that i wish to acquire.

I quite like the short deadlines as personally this actually helps me keep on top of things. It provides a sense of urgency as opposed to producing a 'it hasn't got to be in for ages' attitude. I'm pretty sure I've hit almost every weekly deadline which has enabled to me to not be working during the holidays and to pursue my own studies. Hopefully i will be able to keep that up in the second year. Although from the looks of things it only gets more intense. I guess that's what i should use the 5 month break for; practise, practise, practise!

Move

My topic of choice concerning the GDC is going to have to be the Playstation Move controller. Prior to seeing the Sony conference i had no interest in the Move and didn't even know what it was. However after witnessing what can only be described as the most blatent rip off ever in the form of a wii-mote with a lightbulb jammed on the end i have to say something about it.

Fistly you'd think that Sony would at least try to be innovative. Microsoft have come up with Natal which although questionable in terms of how well it will work at least is a venture into the relatively unknown. It could be argued that Natal is inspired by the eye toy and it probably is, but the general ethos behind it is rather different, the idea being that Natal is a full means of control.

The Playstation move controller is basically a better version of the wii controller. This is assuming their discourse about the peripheral is not an exaggeration. If this is true the playstation then essentially is the Wii mark 2.

Lets assume the Playstation move controller is a better, more accurate version of the Wii controller. The wii now becomes completely obsolete. Playstation uses blu ray disks for a start so developers can put two control systems in a game if they want to test the waters. The PS3 has hi definition graphics which the wii most certainly does not and not to mention better games.

I'm not particularly a fan of Playstation myself, not since the PS2 anway. I thought Sony royally screwed up with the PS3 but at long last it's beginning to all fall into place. My dad recently bought a PS3 and as a long time 360 owner i have to say Sony has won me over at last.

It shall be EXTREMELY interesting to see what Nintendo do next. They basically have to up their game and do something to combat the onslaught of Move and Natal. It is a shame that Nintendo kickstarted the motion gaming revolution yet are on the verge of being ousted, but thats business i guess.

One other thing i found hilarious was Sony's attempt to justify their epic steal by stating that they've been in the motion sensing game for ages and playing around with the technology eg. the eyetoy. That still doesn't disguise the fact it's a complete rip off of the wii. Even the ad campain has taken the family dynamic theme.

Apparently Sony also has some other stuff up it's sleeve for E3, watch this space...

A Moment of Reflection

3 Years sounds like a long time, but it really isn't. My own personal reason for being at University simply was an excuse to study art for 3 years. Everything I've done whilst here I could have done at home, except in the real world I'd need a job and wouldn't be able to devote the vast amount of time that I currently do to art. The other bonus to being here is being part of the class which goes a long way in motivating me. If I were at home on my own I can’t say I’d be as motivated but seeing all the great work everyone else produces inspires me to better my own work.

Looking back, my original goals in coming to University were simply to work work work. The plan was to study art day and night, and now with the majority of the first year behind me I can safely say that is what I’ve done. I think my progress has mainly been theoretical though this year. My work has remained pretty consistent since day one, in fact I’d say my best work was in the first 3 weeks simply because it was more fine art oriented. I have spent the year loosening up and learning different ways of working and visualising things, and while the quality of my work has remained the same, i have gotten a lot faster at working. I’m probably still slower than the majority of people but I’ve taken at least a third off the time it takes me to do a piece of work.

The one area I’m really proud of my improvement in is life drawing. Before this course I’d only ever done it once and the results were pretty poor. But after 3 sessions I’m pretty happy with my life drawing outcomes as final pieces. I generally finish in time and am really happy with the rendering. Don’t really know where to go with them from here on out, aside from speeding up I guess and putting more detail in the face. I think that my anatomy studies in my gap year combined with my new faster looser style combine in life drawing to good effect. The few hours in life drawing each week is when I’m at my best.

It’s strange, although I am satisfied with all the work I produce, I will always feel that there is a massive void between where I am and where I want to be. To that end I try not to think about the future too much. I think about it in terms of goals and I know where I want to go, for example I’d like to end up in the film industry if possible and one day teach art, but on a day to day basis my only goal is simply to be the best artist I can be. So whatever I’m working on needs to have 300% effort gone into it. Unfortunately for me, a lot of work so far has had to be finished before I really feel it’s finished in my mind, but deadlines must be met and I like to think I have a good balance between bringing things up to a presentable standard and what I call finished.

Ultimately there’s not much more that I can do than I am doing, so I resolve myself to keeping up the hard work and hope that one day I’ll be happy with my work.

What People Want

Doing some reading about the game industry and what employers are looking for I have come to the conclusion that the three most important things are talent, passion and personality.
To that end I think that the best institutions for students are the ones that provide a solid foundation of the traditional arts whilst encouraging personal development. In my eyes personal development impacts peoples art and generally how they apply themselves. An interesting person who is thoughtful and curious about the world will probably apply themselves more than someone who is just going through the motions and moving through the system.

This is important while studying to get the most of one's time in education. Having said that general drive seems to be heavily sought after in the industry. Just about any article you read about the review process states that applicants should be passionate about games and what they do.

It's also desirable if the applicants actively learn and expand their knowledge in their own time as this stands them in good stead to evolve and move with the industry. Encouraging this at an educational level not only improves overall work but leads to effective problem solving.

When it comes to highly trained art graduates or liberal arts graduates i don’t see why there should be any general preference over one or the other. Surely there are a number of different positions where one or the other would be more suitable and it’s more of a case that graduates are not applying for the right jobs to suit their skills. Then again perhaps it’s a case of people not choosing the right education to meet their future goals.

Game Related Noise

I remember the days when game soundtracks used MIDI files. Even that was pretty advanced compared to the minimal tones used in earlier games. Personally it is the MIDI tunes I always associate with the genre of 'Game Music.'

Games like Zelda and Final Fantasy were only enhanced by these poly tonal soundtracks. Because the music was different than that of whatever was playing in the charts at the time I think it served to remind you that you were playing a game. It was great because in playing games you got to listen to different music. Even though those days are behind us, I love listening to some of the old MIDI tracks because although players might not be intently listening at the time, I defy anyone to listen to MIDI tunes from games they played as kids and not instantly be taken back in their head to that game. I can still hear FF7 tunes and instantly see the game in my head.

Sound these days is vastly more sophisticated and is used to enhance the gaming experience much like it is used in films. Composers can now work exclusively for games, and create pieces of music which serve to enhance the mood, or increase the tension. Some character driven games have different pieces of music associated with each character and might have certain tunes play whenever said character makes an appearance. Sephiroth's theme from FF7 was even extended into a revamped version for the Advent Children film. Other games have certain music associated with them to enhance their identity. Halo made good use of this with an impressive orchestral score. Personally the FFX theme tune is one of the most beautiful melodies I've heard in a game.

In all my time playing games I think I can probably say that the most effective use I've ever experienced of a games soundtrack really enhancing the game, would be the Resident Evil series. Resident evil 1, 2 and 3 had the perfect accompanying sounds. The subtle music gently in the background, the soft shuffle of a zombie's feet when you entered a room, the silence followed by the turning of a door handle. Considering they came out in the PS1 days I think the developer really utilised the game sounds and score perfectly to enhance the experience. It was so well thought out I don't think it could have been done any better. The slow click click of an unseen licker in Resident Evil 2 is one of those gaming memories that will always stay with me.

Game Engines

Game engines are the underlying code structure which make a game work. These can be split into different components, such as rendering, physics, scripting, animation and AI to name a few. It is not uncommon for these to be reused seeing as their primary use in being developed is to speed up the process of creating games. This can be of particular use when developing a sequel to a game, having said that, some sequels prompt new engines to be built, or example half-life 2 uses a completely different engine to half-life 1. The original half life was built with a modified version of the Quake engine, whereas Half-life 2 was built from the ground up using the 'Source' engine. Valve have now actually remade the original half-life with the 'Source'. This remake however was a straight port, even reusing the original textures and models from the first game. Many fans felt that it didn't utilise the Source engine to it's full potential and as such there is now a third party remake in the works. This remake is called Black Mesa and is built from scratch to take full advantage of Source.

When working with 3D engines and level editing, designers have two methods at their disposal depending on which the engine supports. It will either use an additive or subtractive method of level creation.

With additive, there is an empty void and the designer must first create a hollow cube to break the player off from the world (the world being everything the player can see in the game) Inside this cube, parts can then be added to the world.

In the subtractive method, there is only an infinite solid to begin with and the level designer must then subtract and empty space from it.

In general, the subtractive method is becoming slightly obsolete. However, if you are making a solely indoor environment then it might be more practical than additive which is better suited to outdoor environments.

As you can see game engines, and the decisions that go into creating them is no simple task. As such many games companies may choose to licence a pre-existing game engine from another company. Though this is costly, it is rather time consuming as much of the ground work is already done. Once licensed they are then free to start creating their game or perhaps modifying the engine to suit their specific needs. In terms of the company who owns the engine, it can be a helpful source of revenue and thus adds to the appeal of developing your own engine. If the resources and time are available then not only can you create an engine specifically tailored to the game you wish to make but it's also good business.

With next generation technology, game engines continue to get more and more complex and in actual fact are some of the most complicated software currently written. Game engines bring many different components together and are sometimes termed middleware simply because of the ability to mix and match many specific game engine components like renderers or physics engines such as Havok. It's in the continued interest of developers to use engines in this way as everyone can benefit from developments in the gaming world this way.

In future, i imagine they can only get more and more complex, perhaps even with new components as next generation hardware/software attempts to break new ground!

Gaming Culture

I suppose primarily, the gaming culture that i am a part of is the art side of things. Growing up my work was heavily influenced by concept art for games - both style and content. I wouldn't say that gaming is really a part of my life anymore these days. I still play the odd game, but I'm nowhere near as 'in to it' as i used to be. Back when i was at school my friends and I used to spend quite a bit of time on xbox live. It was immensely entertaining at the time, to be able to play some of the best games around in the comfort of your own home but be able to chat and socialise (virtually) with your friends too.

In that sense it was very addictive, i remember wasting many hours just sat on burnout paradise chatting to friends over the headset. Looking back, i don't think i would go back on xbox live again, mainly due to the fact that as I've grown up i find i have less and less time for games, as other responsibilities crop up.

Some games, almost have cult status and an incredible following. Take final fantasy 7 for example, or even just that series on the whole. Gamers have parties where they dress up as characters, films are made about games, and vice versa.

I think games have become a rather sophisticated form of entertainment and like anything which people are interested in and passionate about, the way in which it is reflected in our culture will reflect peoples passion for it.

I think for some younger children however it's quite a detrimental past time. I know some young kids that just sit on their games consoles all day everyday, chatting to people online, some of which they don't even know. I personally think this is a sad case, seeing as they should make the most of their time as kids, and be out enjoying the world, not cooped up. But then again i guess they have that option and can always take it if they want to.

Games have seemingly cemented themselves in our culture, how it will develop in the future still remains to be seen.

Boom

I think it's fair to say that the video game industry is in it's prime. No doubt it'll fly higher in the future but in the present the industry is a serious force to be reckoned with. Despite a large percentage of the population thinking games are just for kids etc, now, more so than ever the games industry is a successful, established and profitable industry.

The industry itself is constantly continuing to develop and new technology is the hallmark of an evolving industry. In order for the industry to continue, new developments consistently need to be realised so it doesn't stagnant. Consumers, fickle though it may be, will soon grow bored if nothing new is on offer or is likely to be offered in the foreseeable future. Happily though, at the moment the industry is going well.

Having said that it too is suffering the effects of the recent 'recession' and last year many games companies had to fire many employees as cutbacks were made. People working in this industry should try not to feel too secure at any given time. Although the industry is not in danger, due to it's very nature cut backs are made all the time. For example after a game project is finished the team working on it may be trimmed. For that reason many employees have had to deal with periods of no work and competing for new jobs and opportunities.

The main problem with this industry is that when it booms, it bloats and generally does itself more damage than good. There are a vast amount of established companies now which theoretically can stand the test of time, but the number if third party developers coming and going is still very high.

I think at the end of the day there will always be a demand for talent. However the industry is now extremely saturated with talented individuals, experienced and novice alike. This means that the level of talent demanded is even higher. So yes there will always be a demand for talent, but the bar is ever rising.

Back to Basics

Right then, back at Uni at last. Time for a bad bed, no food and a freezing room. On the plus side, a decent desk and all the time in the world to draw! =)

Good stuff.

Bring on round 2. I've decided that i worked as hard as i could in term one, but i need to work smarter. This term i shall work smart, and hard! My aim is to not have to redo anything next hols! Only had to redo one thing this time round so thats not too bad!

Was great to be home, free to just sit down with the books and study what i wanted to study! Made some great progress! Been looking at light in terms of representation rather than scientifically, and made some progress on representing form with mark making. Good times all round!

Something From Nothing

I think our individual creativity is our personal response to the world around us in any given context. There are many instances in which one may be creative. Give someone a pen, and they might draw or write. Give someone bricks and they might build. Put on some music and they may dance. Give them drums and they will play. Give them a problem that they may solve. Give them the tools to lead a better life. Educate them to look differently at the world around themselves.

The human mind’s creativity knows no bounds in any area of life.

I think perhaps it is a great shame that we as a species have got into the habit of measuring creativity. We might say someone is very creative if they produce a work of art, but if someone else only creates scribbles on a page, then we may say they are not very creative. All too often creativity gets confused with innovation. Innovation, originality and novelty perhaps are measures in themselves and should thus be looked at separately.

The act of living in itself is a creative endeavour. Were we not so advanced as a race, we’d be creatively hunting and providing shelter for ourselves on a daily basis. In the modern world, social situations provide endless opportunities to be creative. Creative with words, for example, creating in jokes, nicknames or slang. If you are playing a game, how you respond and therefore play the game is a reflection on yourself creatively.

In these terms, creativity is very simplistic and basic, but it is creativity nonetheless. Once provided with tools, or certain situations creativity increases greatly in complexity. When working in a team, creativity gets even more complex. Now you have each individual’s response to a certain problem and then their individual response to everyone else’s response! This is why businesses have brainstorming sessions with large groups of people, because in doing so you can ensure that the creative ideas being put forward are also innovative.

Back to innovation again. Inevitably innovation is important because it is the holy grail of creativity. My earlier point was only that not all creativity should be judged on how innovative it is. For instance personal endeavours or hobbies. In business innovation is key to success, so we have people learning how to maximise their creativity and really nurture it.

Can creativity be nurtured? Yes because unfortunately there are those that simply shy away from life. People that are not truly living. Take someone who just sits on the couch all day, interacting with no one, watching TV. They are hardly living life to any extent at all.

I think creativity can be nurtured by opening our minds, and trying new experiences and constantly challenging how we think on a daily basis.

Whilst I may have said earlier that creativity is all around us and should not be measured, I do however think it should be encouraged. Someone might not be that innovative, try as they might, but they should still be encouraged to be creative as it will undoubtedly enrich their lives.

Scales

My own personal description of ‘gameplay’ is the balance between challenge and fun in games. The game mechanics serve to create gameplay, for instance, the challenges themselves, the options available to the player, and the control systems in place allowing the player to make independent decisions.

No one likes a game that is too easy. Conversely no one likes a game that is so challenging that it is almost impossible to get through without some serious frustration. For someone to continue playing a game there must be some sort of payoff to the user. They must essentially be having fun and enjoying themselves. A lot of games try and address this with rewards, and level completion bonus along with unlockable extras. The best games get the payoff just right as the user is playing the game, providing just enough challenge that as the user makes progress through the game the satisfaction comes from the user being ‘good’ at the game, if that makes sense. There is no universal measure of whether a user is good at a game or not. But we all know from personal experience that some games we feel we are good at, and others we feel that we are not. When playing a game and you pull off a great headshot, or drift round a corner, or get an awesome combo, or do something generally perceived as skilful, you feel somewhat proud in that moment. This feeling is only enhanced if you feel that you have pulled this action off in spite of the challenge of the game.

So as I said, for me it is all about balance. If it’s too easy, you might pull off some ‘skilful’ things too often, lessening the impact of them. Games are a little like rollercoaster’s, you have to balance out the ups and downs, and then throw in the occasional loop.

So is it important? Yes! I think if someone so desired they could probably break down the individual gameplay for individual games, but there are no overarching themes/rules or categories that you can apply to all games. Even if someone can’t explain it, they understand gameplay on some level. They know when it is good of bad. With this in mind, it should most definitely be planned for and implemented in games carefully. It is possibly the most important factor in designing a game and also the hardest to get to grips with.

A little balance can go a long way.