This is Part 2 of our interview with Adam Parsons. Make sure not to miss the first part.

We conclude our interview with the ex-Codemasters man by asking him about his personal experiences, the life of a developer, and his thoughts on the future of gaming consoles.

Adam Parsons was Executive Producer at Codemasters' Action Studio for over twelve years. Before leaving the company at the beginning of August for new horizons, Adam was kind enough to give Gamer's Guide to Life.com an exclusive interview about everything gaming; the industry as a whole, his personal challenges, and some tantalising hints about his next project.

If there were one thing, process, person, or trend you could remove from games development altogether, what would that be, and for what reason?

Actually, that is very difficult. I’m torn between inaccurate estimates, excessive crunch, and test. If everything worked and there were never any bugs, ever, I’d probably remove test (on the basis that it all worked). If everyone estimated with 100% accuracy, that would make my job much easier.

The reality though is I would remove excessive crunch. There is no reason for excessive crunch. Some crunch, yes, in moderation, as we all want to improve and iterate, and this can take longer than estimated. After all, estimates are just that! Planning a project in a non-realistic time scale, with a similarly unrealistic quality expectation, is just ludicrous.

Developers are the talent; they produce the goods. It is not just one man or woman leading any discipline; it is the whole team that delivers a successful title. Of course, I’m aware that budgets have to be met, but we should all be treated fairly for the work we do, and if something needs to be improved beyond expectation, adequate time should be given to it, or realistic reward for crunch time. My heart goes out to developers such as Kaos Studios who endured crunch, and who were rewarded with closure of the studio.

Is the current climate encouraging or discouraging developers from taking risks?

For the indies and start-ups that don’t often have that much to lose, that results in some great titles. Joe Danger, for instance; four talented guys, just focussed on a fun game without interference. And it shows.

For bigger publisher/developers, the title has to be turned into a franchise, and not become a one-hit wonder, so the pressure to take risks is immense. Relying on tried and tested formulas can result in franchise fatigue and ultimately the demise of a developer/publisher. Look at Black Rock Studio and Bizarre Creations; two established and experienced studios producing some outstanding games. Both took a risk on refreshing the racing genre, and both closed.

But our industry is all about high-risk and high-reward, and we'll will continue to invest in new IPs even though it’s a challenge; consumer appetite for new stories and experiences needs to be satisfied.

When could we see a 'PlayStation 4' or 'Xbox 720' announcement? What sort of innovations will they bring?

The consoles are feeling their age now, so late 2012 or early 2013 feels about the right time for the industry to prepare for the transition.

I have a wish list more than inside information regarding innovations. They’ll be two parts; innovation and catch-up.

For the catch-up, built-in Kinect and or controller motion support, and all the relevant network services, such as cloud storage, social connection and platform connectivity.

Scalability to adopt new services and social integration will be key, but far simpler to retroactively fit via software/firmware, so I don’t see that as much of an innovation, more as forward planning.

Other innovation will take the form of access anywhere, any time. Apple is already starting to lead the way with iCloud and Wi-Fi syncing, but what I would like to see is a totally connected game. Eve Online has ambitions with Dust 514, but to be able to be part of a Call of Duty campaign on your iPhone, commanding units strategically, and then to be able to take part of the campaign in another way via a PC browser, with alerts being sent through social channels on your progress is something I haven’t seen accomplished on a large scale yet. With the obvious move towards digital distribution, it’s fairly safe to assume that larger storage, 3D features, faster processors, lower power consumption, the integration of entertainment services and streaming and any new interfaces will all be almost certain additions.

I’m just waiting for the iHolo so I can play the Minority Report on my iPad 3.

What is the daily life of a developer like? Is it a relaxed and creative environment, or a tense and panicked slog?

It’s mixed depending on the phase of the project, and each phase itself has its stressful points. The closing phase of the project is the most stressful, but never panicked, and often the most exciting with hundreds of issues to solve on a daily basis which really tests your endurance and mettle.

With monthly milestones, there’s always the pressure of delivering something playable to assess and appease the great gaming gods above, but that’s half the fun, and it’s definitely a creative environment to work in.

What sort of game would you love to make?

That old chestnut. I’ve always loved comic books and novels, and I often finish a novel and think 'now, that would make an awesome game'. 2000 AD has had some great stories, such as Flesh and ABC Warriors. The IPs are owned by Rebellion, so I hope they can do those some justice one day.

I do have a game concept that is probably only fundable by the largest publisher for the next Xbox or PlayStation, together with planned advances in wireless technology. It's one I would love to talk about, and it certainly hasn’t been done yet because of its complexity and reliance on technology. I would love to think it’s a game-changer, but at the same time it's hugely risky.

Oh, and I’d want enough time to make it without being driven to killing people.

How did you start in the industry, and if you were doing it again, would you take a different route?

I left a company in a senior position to join the games industry, and had also managed production teams in the design and print business before going into games. Of course, in games, this means squat. So I started as a production artist. After six months, Codemasters offered me a Lead Artist role on my first PlayStation 1 game, TOCA World Touring Cars; it was a baptism of fire, but I thoroughly enjoyed the pressure and scale of delivering the art for the game.

After many years and projects, I really wanted to positively affect more than just the art vision for a game. I moved into production so I could work with all disciplines and produce the full experience. I love art and photography, but being part of a much broader picture is more appealing, and I wouldn't go back on that. Moving into production, most producers seem to have Quality Assurance or engineering backgrounds. Very few artists I know have moved into production, mainly - I guess - because the attraction of producing stunning visuals is too much to give up.

Having been part of the main dev team, I can clearly remember the issues the team went through, so I try to avoid the issues that plagued me as an artist and support the team as much as possible during the making of a game.

In hindsight, I would have moved into games earlier, as the industry I was in before was stagnant and it was more of a case of creating a portfolio faster than one of gaining more relevant skills.

Do you think there is a certain market or genre which is being over-saturated?

There’s a danger of lack of innovation in every genre which truly offers players more. I see a long list of game mechanics, and designers using it as a pick-'n'-mix of game features. There’s a game I know that very clearly and unashamedly ‘borrowed’ a mechanic from another game, and didn’t really cover it up. That's not a problem, but it isn't helping the industry to break new ground. You could argue that some shooters are using formulas from other games to help support their sales and appeal. But if gamers continue to buy them, why stop?

Personally, I want to see designers pushing the envelope a bit more. Portal is a great example of off-the-wall thinking, and it’s become pretty popular too. That’s something I love about Valve and their design process, and why others should take a page out of their book.

In terms of saturation, the shooter market is a pretty tough place to be in right now, and as a learned friend of mine once quoted, we "let them duke it out". There’s still a place for the right games in niche markets, but it has to have that mass market appeal as well as something truly fresh and relevant. Innovation is ridiculously hard to deliver.

What sort of games would you like to see more of?

Classic platform games. You know, I loved Manic Miner and Monty Mole from the 8-bit days. Gamers have been spoilt today with checkpoint saves, infinite lives, and magic healing after 30 seconds. In Manic Miner, you had three lives, and gained more after 10,000 points. And, you had to be exact on when to jump, or lose a precious life. That’s why I love Limbo, it's a great example of less being more; innovative in its execution and great fun to play. This is why I love hearing from players who've finished Red River on hardcore, as it’s that unforgiving, without any safety measures.

Would you rather make a million-selling game that doesn't take the industry anywhere new, or develop a niche, but revolutionary, game?

I’d develop a niche, but revolutionary, game...

...that sold millions.


Our immense thanks goes to Adam Parsons for taking the time out of his busy schedule to speak to us. For more interviews and all the latest, make sure to follow our Twitter account for all our updates.

Labels: 2011, Adam Parsons, Chris Hawke, Codemasters, Exclusive, Industry, Interview

Adam Parsons was Executive Producer at Codemasters' Action Studio for over twelve years. Before leaving the company at the beginning of August for new horizons, Adam was kind enough to give Gamer's Guide to Life.com an exclusive interview about everything gaming; the industry as a whole, his personal challenges, and some tantalising hints about his next project.

What, in your view, is the best way to get into the industry? Getting degrees and qualifications, or the home-made mod/indie route?

That really depends on what you want to create and how much control you want over your project. For me, I spent about twelve years in various industries after completing University with a degree in three-dimensional design (product design). Then I moved into graphic design, then web design, and finally multimedia. Towards the end of that phase it was leading teams and then joining Codemasters.

I wouldn’t have done anything differently, as the variety of experience in different trades removes the blinkered and cynical view of the games industry today that those who have grown tired or spent their life only in games have. I still wake up each morning excited about what the day will bring, and what I’ll help create or deliver.

My advice to those who have less financial burden and plenty of talent and creativity is to do what was done in the 8-bit days, and what is being repeated again now: self-publish on iOS/Android or PC (Steam). There’s discussion that the world can only take so many four-man dev teams pushing out indie titles, but I disagree. These fledgling teams are doing some very cool work, and help to keep the games industry on its toes, being agile whilst bigger companies act like oil tankers, trying to keep turning swiftly but lumbering, or snapping up those that do pioneer new, interesting concepts. This approach is, however, more risky, as there are counter arguments that only one-in-twenty iOS games ever reach the dizzy heights of success.

Of course, for those with less experience yet keen to learn from the seasoned professionals, having a great portfolio or demo straight from University helps to secure a position in a successful dev team. We certainly had some superstars on Red River who had just graduated, and had bags of energy and enthusiasm to deliver the game.

What is your favourite game ever, and why? What game are you looking forward to most?

Oooh, that's so difficult. It was always a toss up between Battlefield 1942 and Aliens vs. Predator on PC. 1942 was so much damn fun and so well balanced; I lost many hours online and at work during lunch to that game. AvP gets a honourable mention because it was the first game (now only perhaps superseded by Dead Space) that actually scared the crap out of me with its incredible atmosphere.

The game I'm looking forward to most is equally difficult. I’m a massive shooter fan, so it’s a battle between Battlefield 3 and Uncharted 3, but Bioshock Infinite gets a look in too.

What are your thoughts on the Wii U? Do you think it could be a revolution, or is it a misstep for Nintendo?

I’m not sure if it’s the Emperor’s new clothes or not. As game makers we’re fighting for consumers' leisure time, and whilst there’ll be a segment of the market that will welcome it, the price, the quality of launch games and the new experience it brings will be the tipping point. Guessing the consumer is a tricky business, but Apple seems to have done very well with its products and targeting what engages consumers. Their games and apps have enabled people to experiment at low cost, whilst their catalogue grows daily, and the infrastructure is already in place. I was quite disappointed at having to wait for a 3DS web browser (although it's pretty hard to read on a 3DS screen); if Nintendo are aiming to make the Wii U a success, they'd better be in a position to fully support it from launch with keen pricing.

I do know that Nintendo will push its classics out with bespoke mechanics for the new controller, but I’m not sure this is going to be enough to move a large percentage of people from their current-gen console.

You're leaving Codemasters after more than twelve years. What do you think the future holds for the company?

I’ve spent twelve-and-a-half years of my life at Codemasters, and it’s a fantastic company, driven by very talented developers with a passion for making games within a high-pressure environment. I’ve made some very good friends there, who I’ll be watching out for. In terms of the future, I can only speculate of course, but I’m sure their key brands will go from strength to strength and I’m especially interested in what the next game will be from the Action Studio.

When can we hear about your next project?

I’m starting at my new company pretty soon, which I’m stoked about. I wanted to work for three or four developers before I die, and this is one of them. The next project is, of course, confidential, so all I can say is watch this space.

Codemasters recently suffered a hacking attack on their website, a growing trend in the industry. Could hacking pose a real threat to developers and companies, or is it a passing fad?

Any security breach is a worrying experience, from someone breaking into your house to identity theft. The justification for Sony, for example, was theorised as having been an act of vigilante justice resulting directly or indirectly from Sony's lawsuit against George Hotz. Either way, you can’t condone it; perhaps they were pissed at Sony for removing the Other-OS function that consumers thought they were entitled to (waits for the comments to explode).

The damage could be huge to developers and companies alike, and this won’t go away like some fad. Hackers have been around for years, but with such pervasive networking through social media and the web, these stories just become more glorified to attract attention. With more movement towards digital distribution, there’s a likelihood that hackers will see these services as a challenge to hack. Certainly, there’s been mixed reaction to EA’s Origin, with some viewing that as EA having a monopoly on being able to charge whatever they like for an EA product distributed solely through their own outlet. I’m sure hackers will attempt to circumvent the system to 'protect the people', so it’s obvious that greater effort is required to stop these modern day Robin Hoods.

What can we expect from the next Operation Flashpoint; a 'milsim' or the 'tactical' approach used in Red River?

Well, this is going to be speculation, as I’m under NDA. At a personal level, I’d like to see another Flashpoint focussed towards the tactical side of gameplay. We had such a short development cycle for Red River that we were proud of what we’d done, but aware of the shortcomings once it had been out there for a while. Certainly, there was an opportunity to fix some of the issues via updates, but as I’m not part of the organisation I don’t know what their support plans are. One thing is for sure, we never wanted or claimed to be a milsim; we left that to other developers.

Do you think that the current trend for 'online passes' and the like is actually going to positively benefit development teams, or is it just a greedy ploy by publishers spurred on by shareholders and investors to make a quick buck?

Personally I like online passes, and hate the idea of used games being sold without the orginators seeing any royalties.

It’s pretty simple; developers spend large budgets on making games. If the sales don’t add up, they lose money. If they lose money, they cut staff, release fewer games and so on. There’s the counter argument, what with games being of a lower quality, that once bought - to recoup your losses - you sell it used because you feel you’ve been cheated. Again, this is why there are many online games sites reviewing games, demos on the various console stores, and our beloved Metacritic to protect those from games that don’t meet their expectations.

Without digging into the legalities of software licensing, selling a used game via Gamestop or HMV means the retailer profits and not the consumer, so actually it’s the retailer that can appear greedy, cutting out the developer who bust their balls making the game in the first place.

That’s what I’m opposed to, but it’s such a complex issue and there are arguments supporting both sides. I’d like to see more of the free-to-play model or freemium, so that consumers can try the game in depth without having to spend $60 on a gamble. An alternative idea is a lower-cost launch platform, with modes and episodes being bought ad hoc.

In your time in the games industry, what has been your single biggest challenge of all?

Every game is a big challenge from a quality and delivery perspective, knowing what to focus on and how best to spend your time, and keeping the team happy. I spent some time with MercurySteam (of Jericho and Castlevania fame), and with most of their team only able to speak Spanish that was a real challenge, as we co-ordinated between Clive Barker and the dev team. Given the amount of development time we had for Red River, that was my biggest challenge; to make a great game in such a compressed timeframe. But, with a totally committed and dedicated team, we made it possible.


The second part of our interview with Adam Parsons will find its way onto your computer screens over the next week - to ensure that you don't miss it, be certain to follow our Twitter account for all our updates.

Labels: 2011, Adam Parsons, Chris Hawke, Codemasters, Exclusive, Industry, Interview, Operation Flashpoint: Red River

Aristotle. 384 – 322 BC. A Greek philosopher, a student of Plato and teacher of Alexander the Great. He came up with some wicked clever ideas, especially that considering Plato, his teacher, came out with some right old rubbish. Aristotle made very astute observations about what makes something something, and why things are what they are; their purpose. Aristotle was a pretty cool dude. Except that his wonderfully inventive ideas on the primum movens aren't his best work. Not even close. No; Aristotle has something much bigger to add to his CV. Something much more important.

Aristotle is the best games reviewer the world has ever seen.

Do you remember when, messing around with LEGO, you decided that you were going to make something really, really awesome? So you sat down, and thought for a while, and then went to work on the best temple/castle/spaceship the world had ever laid eyes on? And once it was done, despite the fact that all there was in front of you were little multicoloured blocks put one on top of the other, there was something stunningly brilliant about it? Something hard to describe, but a feeling of accomplishment, and pride, that made the structure more than just a collection of tiny, plastic Danish blocks; it made it unique and special. How about when listening to this tune, regardless of it just being a series of musical instruments playing in a certain sequence? Does it give you that beautifully nostalgic feeling that adds so much more to the experience of listening to a random song? That's 'holism'.

Holism is, according to the big man himself, when 'the whole is different, or more, from the sum of its parts'. So, you can look at the LEGO building as just various blocks placed in an aesthetically pleasing order, or music as a series of sounds, but holism would argue that the extra sense of accomplishment that accompanies it - all those nostalgic memories of The Sims - make the experience more than just what it's made out of.

Apply this to video games, and it explains why Aristotle would have made a killing in the reviewing industry. S.T.A.L.K.E.R., one of my not-so-secret passions, is a troublesome little thing. Despite three games in the series, it has used essentially the same game engine from 2006 onwards, and has been plagued by some serious issues; bugs galore, shoddy AI, weak bullets, and just a general feeling of outdatedness.

But there's something special to it.

When the superb lighting bounces around an abandoned Pripyat, bursting through broken windows. The bloodied hospital floors as a baby's cry echoes all around you. You know the glassy-eyed husk of a Duty fighter caught in an emission is somewhere ahead of you, but you don't know where. Low on ammo, low on health, low on confidence. Now, you could take a step back from the screen and simply note the shoddy textures, the repeating sound clips and the immersion-breaking HUD. That is, after all, what's in front of you. Those are the building blocks of the S.T.A.L.K.E.R. experience. But, somehow, they mould together to create the nerve-wrecking, sweaty-palmed horror-fest that gets your heart pumping and your teeth chattering every time.

Aristotle would have been the best games reviewer ever if he had been around in this internet age. So many reviews these days get bogged down in technical talk; over-analysing of anti-aliasing. They examine every texture, every bug, and every pixel. What they miss, though, is the real game: the action that's happening right in front of their eyes, the experience created by the fusion of all the game's elements. Of course, the technical side always has its place; Fallout is - justly - condemned as a buggy mess, but if you just reject it on its slip-ups and glitches, you'll miss one of the most enjoyably violent, immersive and open-ended games on the market.

Never judge a book by it's cover. Never eat yellow snow. Don't wee with the seat down - seriously, it'll only go wrong; men can't judge distances right - and never forget the overall, the conclusion, the overarching feeling of a game.

A game is more than just parsible entities.

Labels: 2011, Aristotle, Chris, Chris Hawke, Culture, Fallout, Feature, Industry, S.T.A.L.K.E.R., STALKER, The Sims

Nintendo's strong success since the launch of the Wii took a huge hit during the first quarter of fiscal year 2009-2010. The company's revenue has dropped 60.6 percent from the previous year. Nintendo's total year-to-year loss was 65 billion YEN. This marks the first annual decline for Nintendo in 4 years and is highlighted by the drop in console sales. Wii sales tumbled 2.94 million from Q1 last year, while DS sales dropped from 6.94 million sales to 5.97 million.

Tyson

Labels: Financial, Industry, Nintendo, Tyson, Tyson Breen