Working as a Game Programmer

VANQUISH

Filed: Community, Games, PlatinumGames, Vanquish

Hello, I’m lead programmer on Vanquish, Kiyohiko Sakata.

It’s been about a month since Vanquish hit the streets; is everyone is having fun with the game?

I wanted to write this blog entry about what it is like to work as a game programmer. I think that people have a vague idea of what game programming is like, as some sort of difficult job where you just write a whole bunch of code that makes the computer work.

Of course, they are right. Most of the job is staring at a computer screen and writing code. If we consider what sort of code gets written, there is a nearly endless list of different types, and in making a game, these stretch from the tools needed for artists to the development environment needed for game designers to create the game itself. There really is code is in every direction.

But to accomplish an endless list of work, you have to establish a set of clear goals. If you try to pour all of your strength into everything at the same time, all you will end up making is some wishy-washy junk, so you have to figure out where to focus your efforts and what challenges you want to step up to. Doing this allows you to create something of incredibly high quality. Also, if you have too many goals, it won’t work out, as many failed projects fail because they either did a poor job of setting the bar or they were simply too ambitious.

We had two goals for Vanquish. One was to make a true-to-form third person shooter. The other was to develop this game as a multiplatform title for PS3 and Xbox 360.

Since we are a company that has created many action games, we didn’t really have a collective knowledge on how to make a TPS, so we approached initial production as an extension of creating an action game. However, we quickly found this wasn’t going to pound out. The way AI works in a shooter is a different beast, so we played all the major titles made overseas as research, read white papers written by foreign developers, and even talked with some of them directly during development of the game. Each individual enemy’s AI is important in the overall scope of a TPS’s AI, but so is situational awareness of the stage and scene that is playing out. To strengthen this, we created a system that gave us minute control over the situations in the game, making the effort put into the tool chain and development on Vanquish far greater than the norm for us.

Of course, the foundation for the AI lies in our core of our action game skills, so while the game is a “real” TPS, you can also enjoy an action-game-esque feeling, which I am proud to say makes our game a fun experience that is probably something that you don’t see elsewhere.

As for multiplatform development on the PS3 and Xbox 360, the most difficult part about making the same game for two platforms is the technical differences between those two pieces of hardware. Both systems have places where they excel and are deficient, and even if you set out to make exactly the same game on both, you may end up developing to the least common denominator and ending up with a mediocre game on both platforms.

This isn’t a problem if you can fit everything you wanted to make into this lowest common denominator, but we wanted to do a lot with Vanquish, and this type of development quickly showed its limits, so we had to make some decisions on how to move forward. We decided to work on the places where the hardware exceled, then we put a huge amount of energy towards compensating for the places where each piece of hardware is lacking, remembering that the most important thing was to maintain the same visual look and feeling to the gameplay.

This was the hardest goal we set for Vanquish, and with the title being our first shot at PS3 development (we had no prior know how in this area), I was honestly worried as to whether the bar was set too high. We had a really talented staff on the game, but even then, we still had to go outside the company to some really talented engineers at SEGA and elsewhere to help us make up for any areas where our technical expertise was lacking. They stayed with us for a few months, and thanks to their help, we were able to finish up production. As a result, we ended up meeting our goals with a very high quality product, and I feel we were able to pass on that product to gamers around the world.

Finally, I wanted to thank each and every one of you who have played Vanquish. For those who haven’t played it yet, you obviously have some interest if you are on this blog, so I really hope you give the game a shot. At the very least, I am confident in recommending the game as something you will not regret playing, so definitely give it a try!

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The Art Pipeline in Vanquish

VANQUISH

Filed: Community, Games, PlatinumGames, Vanquish

Hello and good day. I’m Kenji Irie, an artist on Vanquish.

Vanquish was my first gig in the highly desirable game industry, and I was able to work on a big game right out of the gate, with a really fun team to boot.

For Vanquish, I worked on backgrounds towards the beginning of the game, and the main vehicles and space ships during the latter half. At the end of the project, I worked on promotional art pieces. I think you’ve most likely seen my work in the DARPA logo, the friendly and enemy transport ships, and Burns’s flagship at the beginning of the game. Amongst those, it was great fun to make the enormous objects we threw into the stages, like Burns’s flagship, because of just how much presence they have on-screen.

There are lots of things I’d like to tell you about Vanquish’s development, and I’d like to start by giving you a look at how our art pipeline worked.

When making some of the promotional art for Vanquish, we used the base in-game models and worked with them further in 3D software packages to create new images that let you into the game’s world a bit deeper.

The in-game visuals are more than adequate; however, if you were to blow it up and print it, you need much higher resolution. Also, there has been a rash of really high level art assets being put out by some rival titles. To make sure Vanquish didn’t play second fiddle, I thought that I needed to make sure everything was set up perfectly and retouched.

Art Pipeline 1
First, I took a composition drawn by Usui-san, one of our concept designers, and created to be an art asset. Then, with the help of other team members, I decided how the pose and composition of the work should look in 3D and finalized the layout.

So using this as a base, I refined the pose and composition of the shot.

Art Pipeline 2
Rendering out a single frame of a model at this high quality would take too much time, so I split up things into elements and rendered them individually.

Finalized layout from the 3D package.

Art Pipeline 3
At first, the atmosphere of the work and the details are still a bit rough, so I use a painting program to go in and add small touches/retouches to the work.

This is a before and after of the retouch process. You can see things look more atmospheric.

Art Pipeline 4
Here I keep on adding in lighting, atmospheric elements, and other various effects to make the shot pop.

This is the finished image. You can tell it has changed a lot from the original data.

Art Pipeline 5
For a large image, it is easy for there to be over one hundred layered individual elements. I keep playing with tweaks to this really complicated data pool as long as time allows, finally producing the fixed art asset.

A look at the layers of the image.

I took great care in creating all of the art assets for Vanquish, such as character images, that found their way into magazines and the game’s homepage.
I spent time to add a lot of little details into things, especially in places like the exterior materials and parts of the robots, so once you are done with the game, I hope you turn your attention to these places.

It has been a month since Vanquish was released, so even if you’ve completed the game, there is still plenty to do between the Tactical Challenges and God Hard mode, so make sure you give them a try! As for me, I finally completed everything in the game! I can’t even write the number of continues it took me to beat God Hard… LOL.

Well, that’s it for now. Until next game, have fun!

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Putting a Face to Vanquish

VANQUISH

Filed: Community, Games, PGTV, PlatinumGames, Vanquish

Hi all, I’m Vanquish facial animator, Masanori Takashima.

It’s been a month since the game was released, huh?
I suppose that those of you who have become captive to the exhilaration of traversing (gliding) across the battlefield are taking a crack at God Hard mode or possibly going after all the achievements/trophies. For those of you who haven’t played the game, I hope you make Vanquish a part of your holiday treats. We will be waiting for you on the adrenaline filled battlefield.

Anyways, that intro got a bit long in the tooth, so I’ll get to the topic at hand – facial animation in Vanquish.

Let me start by explaining the nuts and bolts of facial animation. I was in charge of making sure that the character model’s face could show expression by setting up a facial controller and then animating the face. It is a very specialized, almost geeky field; however, I am incredibly passionate about the challenge it provides.

When people try to understand other people, they rely on their appearance, the tone of their voice, their behavior, and their expressions. Amongst those, the face is incredibly important because it transmits expressions as visual signals. These signals show the depth of one’s humanness, from changes in feelings, to thoughts, personality, and even sometimes lies. Furthermore, humans are able to detect slight changes in expressions and guess at their subject’s feelings. It is truly a wonderful ability, and all the gamers have this trait, so to make sure that they understand each character’s individual expressions, you need to have the right animations, as well as an easy-to-use, robust facial controller. It’s a job that takes perseverance, perseverance, and then some more perseverance, but the minute you see life breathed into a character, it is addicting!

So here you go, recruits… Vanquish!

To make the player feel as if the characters in Vanquish are real, living human beings, we wanted to have a more realistic touch to the facial animations. Instead of trying to fill things with idiosyncratic animations, we decided to go with an approach that separated things into rough animation categories. Our plan was to come to grips with the general framework of all of the characters over the course of the game, then give them out of the ordinary expressions (or perhaps their true colors) at key moments, providing a hint as to where they were heading. Put simply, we wanted the characters to hit the beats in the story and turn things on their heads.

For instance, Sam is usually a cool, smoldering character, with a cigarette casually in one hand; however, when Burns doesn’t just forsake his troops, he smiles. On the other hand, his look of bitterness at seeing men left behind, or the shock when something emerges from a certain character’s chest, were all points where we wanted to lock down the ebb and flow of his character arc and give him a bit more human emotion.

Burns is normally a powerful, rough and tumble guy, and when he talks we wanted to make sure he reinforces the image of a tough as nails drill sergeant type at all times. Yet, his fiercely sheepish face when Sam jokingly welcomes him back from the dead, or the change in the look of his eyes when talking with Sam or seeing the battlefield, are interwoven with his desire to suppress his varied emotions from coming to the surface.

Elena calmly and indifferently explains the state of the battle during the game, and we wanted her to seem like the elite, convincing support role that she fills. She works to hold in her emotions, and is careful to make sure that to the best of her abilities she didn’t end up seeming sexy. However, there are places where her true colors shine through.

She gets irritated when Sam rants, and she can’t hold back when the danger continues on for too long. When Elena is verbally dressed down by Burns, all she can muster is a “Sorry,” but you can see in her face that she doesn’t really think she was wrong. Another one of the things we did for Elena, at my request, was giving her an animation during a scene where she runs her hands through her hair even though she is hard at work in her support role. I was looking for a place where a career girl would make sure that her hair looked good while she was working. At least that was my justification for it. And when I found the scene, it fit perfectly.

Even if you are playing through the game again, skipping the cutscenes, or if you’ve taken a step back after completing Vanquish once, I would love it if you took this opportunity to step back into the world of Vanquish once again. Until next time.

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Telling the Story in Vanquish: Cutscenes

VANQUISH

Filed: Community, Games, PGTV, PlatinumGames, Vanquish

Hello. My name is Kunihiko Tsuda and I was in charge of creating the cutscenes for Vanquish.

With a game a speedy, well-paced game like Vanquish, we had to take care to make sure that cutscenes didn’t bring down the tempo of the experience. Normally, cutscenes take a game’s script and expand upon them with direction and ideas; with Vanquish, the focus was on two main types of scenes – the areas where we wanted to show incredibly explosive shots, like the action scenes and opening, and scenes where we needed to push the game forward with exposition. Ultimately, there was a good variety in the scenes when you look at the total volume of what we created.

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