BigBangGames has just announced a new xbox live indie arcade game they’re working on. It is a 3rd person tower defence titled Dead on Arrival.

This game will feature a bunch of different kinds of enemies, several types of towers you can build to help defend your wall, and an entire medal system built in. Something no game has on the indie market right now.

I’ve spoken to the lead programmer at BBG and he’s told me there are still a few bugs to iron out, and a few features he’s yet to implement. He assures me the game is coming along really well.

Anyways enough blabber, head on over to BigBangGames to check out Dead on Arrival.

Here is the first game made by Big Bang Games. Check it out on Kongregate.

We’re starting off with flash games, because that’s what we’re working on right now. Its actually only one of many things we’re working on. It just happens to be the funnest, and easiest things to put up on the web. I dont know if we’ll just stick with flash games or move on to bigger and better things.

I haven’t made anything just yet. I’ve made small little concept type things for labs we have done in class, but no full games. On the other hand, my friend has made a full game already just for fun.  It isn’t a huge complicated game, but it is actually fun and challenging.

I’ll post up that game a bit later, right now im going to play some xbox 360.

The Top 5 Xbox Live Arcade Games of 2008

The video game industry is rated at some 50 billion dollars and it is growing very quickly. Experts say that they expect exponential growth over the next couple of years, as well! What does this mean then, exactly? It means that now is the absolute perfect time to get your foot in the door of this industry. With the huge growth in the video game business you can expect many gaming testing jobs opening, including some very nice high paying opportunities as these companies try to best their competitors and grab up all of the best testers.

As an avid video game player myself who enjoys all kinds of games, ranging from MMORPG’s all the way down to FPS’ like Team Fortress 2, this is where I come in for you and tell you this big secret; game companies typically only hire people who show initiative and come to them, instead of posting jobs. It seems simple at first I’m sure, but really think on it for a moment. They lean towards people especially who already have either contacts in the industry, some sort of game related degree, or both. I’m not about to leave any of you hanging though!

From a gamer, to another gamer, I want to offer you an opportunity so you can get contacts in the video gaming industry; over 50 of them in fact, insuring that you will get into whatever genre you choose if you pursue it. Many people have gone through this service to get a job in the video game industry, and through these contacts they can even ship the games to your house if you prefer, depending on the company!

It’s a basic human need – for some even an obsession. Play time is a stress reliever, a much needed distraction, and arguably a self esteem builder for the winners. But another basic need that computer games can feed, is that of creation. Everyone loves to create. Whether it’s a five year olds finger painting hanging on the fridge, or Stephen Kings next great horror epic. Anyone with an emotion to express, story to tell, or movie to capture can do their thing.

I must confess to be a wanna-be game developer from way back. I first tinkered around with building games on a Commodore 64. And if I really want to date myself, I’ll confess to writing a very basic random number generator type game in Basic on a Radio Shack TRS-80 computer. Fortunately for the inspired gamers of today, the technology supporting game building has improved by several light years since then. From the simple to use yet powerful GameMaker from YoYo Games to the Unreal Editor (UnrealEd) that ships with the purchase of most games powered by the Unreal engine. This enables anyone who owns the game to create their very own version of the game using the same tools as the professionals.

It’s a beautiful world to live in, if you’ve got the itch to build games. Not only are the tools available, but the information on how to use them is freely given and discussed in forums all over the internet. A google of the term “game developer forums”, shows 194 million results. WOW! I’m sure they’re not all totally relevant, but as I puruse the top few entries, I see a few places where I’ve spent lots of time. Including, but not limited to GameDev, and IndieGamer forums. The latter being an offshoot of the independent gamers forum started by Steve Pavlina on his old Dexterity website, back when he was a legend in the world of independent gamers.

While the tools mentioned above work great for building and designing games, there is plenty of opportunity for other skilled artists to create for the gaming world. Digital artists are every bit if not more a part of game creations than programmers and designers. It’s the visual styling of a game that often sets it apart from the competition, and garners kudos from critics and fans alike. Musicians and sound effects artisans can have fun helping to build games these days. While music and sound effects can often be rather forgettable in games, (especially some of the derivative casual games clones), the really good ones auditory aficionados can really add a whole dimension to the gaming experience. Games like System Shock 2 (Irrational Studios), and the more recent Bioshock (2KGames) come to mind as benefited from some incredibly talented sounds and music.

So, don’t put it off any longer. If you’ve got the game builder itch, it’s time to scratch. You could be the next Leonardo Da Vinci of the game business. The world is waiting.

When we do decide to take that plunge into the development of a new game, there are five things you should consider very carefully, and pay a great deal of attention to. There are probably more of these that will hinder or help you along your way, and your ordering may be different than mine, but these are what I always hold to be the most important. Over the next week we will reveal each aspects, and at the end of the week culminate with the complete article. For today we’ll begin at the top, with number 5.

Number 5: Storyline

When crafting your game, there is no better inspiration for features and activities, quests and dungeons, than your very own highly developed and custom tailored storyline. Some may balk at this statement, claiming that storyline is easily overshadowed and un-necessary when you have intense graphics that make your fingers tingle, or when you have combat so intense that you’re literally ducking out of the way from behind your monitor. While these things definitely contribute to an awesome game, and can lead to a lot of excitement (in fact, they’re on the list too!), they cannot make up for a lack of storyline. One thing many players crave whether consciously or not, is a strong storyline that leads them into caring about the game – it entices you – and makes you feel as though your wildest dreams may in fact be possible in this environment. Storyline can be simple and to the point while being so flawlessly done that it serves as the crux of the entire game (EVE Online: We’re flying through space, blowing people out of the sky…) and at the same time being so rich and deep with lore (the complexities in lore and story surrounding EVE is so great that it entangles even the most basic ships and inventory items) that it compels players to write their own histories.

Not only does storyline help players become engaged with all that you’ve slaved over and worked for, but it helps you the developer along the way. If you’ve been smart, and from the beginning dreamed up an intoxicatingly deep history of your game setting, it will constantly serve you throughout development. It will provide clues into what features want to be a part of the game, what doesn’t need to be included, and what does or doesn’t fit. An architecture professor of mine once said, when referring to the site analysis portion of architecture that we could find out a great deal about what we should be building on the building site by simply visiting the location, and “envisioning the invisible building that wants to be built”. This is true in architecture, and it is especially true in game development and dreaming up your storyline/game setting.

Storyline may be important, but is it more important than a snazzy game setting so rich and vibrant that your tempted to stay indefinitely? Well, maybe – just as long as your 3d representation isn’t bogged down by hundreds of thousands of nasty polygons or quads. Why in the world is Artwork important, anyway?

Number 4: Artwork

I’ve heard many, many times that the artwork/3d models/characters found in your game won’t make or break things. I agree with this in that it won’t make or break the entire game, but artwork and professional looking/feeling models definitely help you out along the way. Think of any movie you’ve seen recently where the sets were absolutely incredible and stunning – one such example (although not necessarily as “recent”) are the Lord of the Rings movies. Throughout the entire set of movies, rich and diverse settings are abound, and help the immersion factor like you wouldn’t believe. Would the movie have been “broken” by less awe-inspiring scenes? Probably not, because in the case of The Lord of the Rings, there were a lot of other incredible aspects. Did the awe-inspiring scenes make the movie just that much better, and give it just that much *more* to drool over? Yes, Definitely. The same kind of effect can be seen in the game industry. I play games that have incredible graphics (EVE Online) and other that don’t (Dark Ages). I am however, addicted to both of these games for different reasons, but you can bet that the stunning environment in EVE certainly helps to inspire its large player base.

Additionally, your artwork can seriously effect the mechanics of your game. Many developers over look an incredibly important aspect of their 3d models – poly count… That’s to say, the number of triangles (or *shiver* quads) your game has. Many of the free 3d models you may find on the internet are gorgeous, but are so incredibly detailed that using them in a computer, real time environment would not be wise because you are typically trying to appeal to as many systems as possible. Console systems have the luxury of (for the most part) assuming that everyone’s running on an even playing field. Those of us developing games strictly for the computer don’t have this luxury. Suffice it to say, it’s important to find quality, low poly game content, and there’s certainly enough of it out there that there’s no excuse for you to be shoving your game full of characters that are in the 10,000 poly range (many online companies limit their avatars, or characters, to around 2500-5000 polys).

The lower your poly count on your 3d models, the smoother your environment is going to run on the widest range of computers… usually. One thing to keep in mind throughout this entire process is how your engine handles polygons, and to find out what the ideal poly range is that you want to aim for for characters and scenery. In most cases higher character polys are more acceptable, with scenery (buildings, trees, etc) being lower in poly. Another engine specific feature to keep in mind is whether or not the engine supports Level of Detail (LOD). LOD for those who may not know is a system where the engine will use very low poly versions of a model if the player is far away, swapping the model in and out for high quality versions the closer you get to it. As far as I know, almost every engine out there supports LOD, but some like Active Worlds do not.

Down the road we go with Number 3: Music! Some may say (and argue) that music for an online game should be included into the category of “Artwork” – while this may be true depending on how you look at it, music in a game is incredibly important *aside* from your 3d models and 3d characters and so it receives its own spot.

Number 3: Music

In many ways music is the heart and soul of any environment you may create in 3D – it is literally the sound trick to which events occur, players win battles to, return home to, etc etc. Music is a vital tool used to set the mood in any setting, and without it your game will feel dead and like something is missing. In many ways, music helps to express for the player the mood of a specific area, it enhances and emphasizes what you are relating to your player. Do you want them to feel sad, anxious, excited, fearful? Because hearing is one of our primary sense (seeing, smelling, etc), one could argue that it is just as powerful in linking and creating memories. It should be one of your *top goals* to make people remember your game – making your game memorable is one of the tricks in making it both enjoyable and something that people will tell their friends about. Hearing, and the music in your game is one of the more subtle qualities that plays a huge part in how an environment *feels*. Think about what your favorite movie would sound like without sound and music?

This highlights another important aspect that is a sub category of music: sound effects. While music is the key that gives your environment some feeling and life, sound effects are what make the environment tangible and feel realistic. When a player is able to knock over a trashcan and as a result they hear the clanging of aluminum and tin rolling down the concrete they’re standing on, the player has an increased feeling of interaction with the environment. Think of the effect and life the environment takes on when a player goes from walking on stone, where their shoes may be clacking, to walking on dirt or mud, where the sound would naturally change quite dramatically. making good games is about mastering small (but powerful) details that immerse your player.

Many independent developers may shy away from placing such an importance on the music played in the game because in some ways it can be hard to come by for people with limited budgets. While music can be expensive (alright, no foolin’ it IS expensive) to have custom made, you can find some great deals on royalty free music for purchase online. In many cases these tracks are professionally made, and available for flexible licenses – either for independent folks, or commercial studios. It’s not uncommon for instance, to find 5-6 tracks on an indie license for around $100.

GarageGames.com has some great deals on music and sound effects – the sound effects found there are definitely a deal. You can find the page directly by visiting their content packages.

Gamedev.net also has some great resources relating to music in games, and provides a nice directory of sites containing stock and royalty free music. Check it out here.

At a later time it would be nice to include a directory of our own of some great music resources. Look for that later. In the mean time, let us know what you think about Music and Sound Effects inside of games that you’ve played, whether you thought they were effective and important to your gaming experience… And if you don’t agree, you can let us know that, too!

Now that we’ve covered much of the meat of your game (Storyline, Artwork, Music), we’re going to delve a little bit farther into game design and really define the skeleton of your game – the backbone, the thing that ultimately keeps people coming back to your game day after day. Storyline, artwork and music are important things that will really make your game feel complete, and make it less likely that people will stand in your local village, and look around wondering “What’s missing?” But ultimately when it comes to the development of your game, we’re now getting into what really matters. That brings us to today’s post…

Number 2: Game Flow

When it comes to game design in todays world there are really three primary types of flow that you game can follow. What exactly is game flow? The game flow, or structure of your game, is how players interact with it and storyline events, quests, missions, etc. It determines whether players can branch out and make the game what they want it to be, or if they’re locked onto a track that guides them into their pitfalls and excitement. Appropriately the three types of flow are as follows: Sand box, Roller-coaster, and a hybrid mix of the two. In many cases the way in which your game engages people, and how it forces them to interact with the environment and progress in the game will determine the types of players you attract to your game.

The most “traditional” game play style, or rather the most frequently used in the past has been that of the “Roller-coaster”. This type of game play is just as the name implies – users begin the game (get on the ride) and are carefully lead through the build up, the climax of storyline, pitfalls, exciting twists and turns, and ultimately the game ends with a rush of excitement. This could also be equated with the experience reading a book gives where there is a definite beginning and a definite ending of things. Many RPGs out there fall into this category, where your goals in the game are explicitly defined (conquer the evil demons of the sea and save the pretty girl) and while these games are a lot of fun, in some ways this system doesn’t always work as well in massively multiplayer online role-playing games (MMORPG’s) where you have dozens, hundreds, even thousands of people interacting with one another. This isn’t to say that there aren’t MMOs that pull it off (Guild Wars specifically comes to mind), and this isn’t to say that MMORPG’s that go the route of the Roller-Coaster aren’t wildly fun (as Guild Wars is). This IS to say that in more recent years people have begun to favor a newer breed of game where the options appear limitless, and if instead of rescuing that pretty girl from the evil demons of the sea, you want to go and be an innocent farmer… more power to you!

Enter the “Sandbox” games. In more recent years there has been a big push to these sandbox’s where people can do what they’d like. Similar to roller-coaster games, the name is synonymous with it’s real life counter part, the sandbox. The idea is that upon entering the game, if you decide to ignore the over arching and present storyline (remember our pretty girl), that you can do just that without any significant consequences. This type of game play is sometimes said to appeal primarily to hardcore style gamers, although I’m not sure I fully buy into that philosophy. Often times I’ve found many casual players in sandbox type games who simply enjoy socializing with one another, mining together, exploring, etc, without all the insane time commitment of pursuing the major storyline events. In many of these games political and religious systems can be found, as well as a variety of job occupations. From what I’ve seen however, these games tend to be far more time intensive than roller-coaster games, simply because of the amount of time you need to pour into your character to forge your own path (and be successful at it). While some many not agree with me here, I would say EVE Online is definitely classifiable as a sandbox, as a majority of EVEs content, gameplay, and activities are created and inspired by the players themselves. GTA3 is also considered by many to be a sandbox game. That in itself is an important note: in sandboxes you will normally find a wealth of systems run by the players themselves, like guilds and factions – usually there is also an economy in game that is facilitated totally by players selling their personally made goods.

Finally, very recently we’ve hit a time when some people are discussing ways to make what you could call a mix between sandbox and roller-coaster games. I have yet to come across a good example of how this has been done (or how someone is working on one), I’ve only heard slight mention of it here and there. From what I gather though, there would be a few central over arching storylines taking place at one time, giving users their choice of how to proceed, and along the way providing ample opportunity for players to branch off onto their own paths, while still allowing them to come back to the big storyline. Some may again classify this primarily as sandbox, but I would argue that if at any time there is a great deal of direction coming from quests, storylines and developer driven content, that you begin to get more into roller-coaster elements. If anyone has run into what you’d consider to be a good example of a sandbox roller-coaster hybrid, please let me know! If you’ve ever read one of those “Choose your own ending” style books that plagued elementary and middle schools, you’ll understand what a sandbox roller-coaster hybrid might be like. While the player has choices (perhaps many, many choices!), things are still ultimately “guided” by an over all storyline, while leaving room for player created content. At the end of the day though, all of that is easier said than done.

Ultimately, deciding on what game system you use, or “Game Flow” method you use is going to be vital in developing your game. Like storyline, it will give you direction and more easily help you to make decisions about whether or not a specific feature would fit into your game. Not only will it help you to make decisions, but as a result it will help to shape your game. Direction and determination are absolutely mandatory in game development, and deciding on a Game Flow will at least help you in the direction department

We’ve covered some incredibly important aspects of your gaming environment – from visual stimulus, and the sounds that pull your travelers deeper into your game, to the stories that inspire and the game mechanics that help shape your players’ characters. However, at the end of the day there is one aspect that will bring everything home and determine whether or not your game is bursting with eager players, or an emptied ghost town.

Number 1: Activities, baby!

While friends within games come and go, quests are released and beaten, items are unveiled and later trumped – at the end of the day the gaming community is not unlike society at large; we are a disposable group of people. We love to love the hottest items, spells, houses, quests, but eventually they become something of yesterday and cease to draw as much excitement from the people who have been hanging around your game for a while. Many games falter because they fail to recognize that new content is a must, even if the content you already have is incredible. The typical gamer can crunch through your average game in less than a month and if you’re planning to release a game that has a monthly subscription, or the need to retain players for an extended amount of time, that’s bad news for you. Ultimately the solution to “What next?” and “Why are people leaving?” is to imbue your game and all of its nooks and crannies with valuable content and *things to do*. It is from this area that it seems most of the discontent for games comes from which means that it is not only imperative to have plenty of activities in the game when it first releases, but to follow up on those activities with new things to explore, find, and participate in in the following months and years of the games life span.

Not only does providing and planning activities in the beginning stages of your game design help create a game that will be fun to play, but it may also help to inspire other areas of your development as well. Events can inspire your storyline, and your storyline can help to give you ideas of activities and new plot lines, for example. In many ways this aspect of your game is what will help to build and foster the social community within your game, which is ultimately what ties people to specific games: the friends and community that would be left behind if they were to leave.

Ideally, there are a whole host of event and activity types you can create within your game. Some of them are global style events that involve almost everyone active in the environment at the time. Examples of such events would be those relating to real world holidays like Christmas, Halloween, etc. More often than not those are time periods in games where if there is nothing new going on, your game will lose out against real life in the excitement category. People will choose to spend time doing things other than playing your game, if this is the case. Now, while we at TGS appreciate family time and all, this is bad news for you. Create global events that match up to real life events that will make being inside your environment during this time fun, exciting, and provide the extra bit of holiday spirit for your players. There are also events that are recurring, such as player run elections and hunting parties that give your players something to do year round. Optimize these activities and make them readily available to players so that these are things they can easily take part in and enjoy.

There are countless numbers of events that you can include in your game to make things feel more lively – we’ve just covered a very small number of them here. Perhaps in a later post we can create another article in order to inspire you a bit more in this category. We’ll see! An important thing to remember when judging whether or not “activities” are your number one priority: an online game is at its best when there are ample things to participate in with others. When your game is one which does not foster socializing, it will more than likely become quiet and empty, and let’s face it – do we expect people to play (and pay for) an empty online game? Food for thought.

The first thing I did was contact game developers. Most of the companies that produce video games do not post ads in the daily classifieds or online like most other companies do. I am not sure why they don’t but I have never seen a job posting like that.

Search online for “a list of video game companies”. There are hundreds of companies that create video games that need beta testers. All you have to do is find these companies and present yourself to them. Make sure you are professional though, don’t just email them and say you want to test video games.

Create a resume. It might sound silly, but if you have a resume about your gaming experience then you will look much more professional and you will be more likely to get hired to test video games.

The next thing you need to do is follow up. Follow up with the companies that you talk to and let them know what systems you own and that you are available to start testing games immediately.

You will eventually get your first game to test and what you will also want to do is continue contacting companies to test games for. You are not actually employed by these companies so once you test a game for one company they may not have another game for you to test for a few months. It is a good idea to spend a few hours a day contacting companies asking to test games even if you already have plenty to test. You don’t want to run out of work.

Make Your Own Video Games for Consoles:

The only console system you can currently make games for is the Xbox 360. To do so you need to download XNA and join their “Creator’s Club” for $99.00 a year. XNA has been designed to be fairly easy to use, but some programming experience is required.

Make Your Own Video Games for the PC:

There are many options if you want to make your own games on the PC. The first thing you need to know is the difference between a game engine, and a GCS (Game Creation System.)

Game Engines:

A video game engine is just that, an engine. Few if any tools come with it, so some programming is required. There are many commercial engines available such as the Unreal Engine or CryEngine 2, and almost as many free alternatives. Crystal Space 3D and the Irrlicht Engine are examples of the later.

GCSs:

If you don’t want to mess with any programming you need a GCS. A GCS packages a video game engine along with a variety of tools which can be used to make a game. There are a lot of commercial options, such as Torque or Gamestudio, but no comprehensive free or open source alternatives. Delta 3D is one such choice, but you will need additional tools to create games with it.

I should also mention that GCSs may not be a perfect fit for your particular needs when making a game for the PC. Most game developers use many custom tools tailor made for their needs as a result. So your best bet is to use tools that are specialized for different aspects of game development. You will need a good programming environment, a good image editor, a good sound and music editor, and a good modeling animation studio.

The current industry standard modeling and animation studios are 3DS Max and Maya. However True Space and Blender both provide excellent free alternatives, and are backed by large, supportive communities. The industry standard image editing programs are Paint Shop Pro and Adobe Photoshop, but the free alternatives Gimp and Paint.NET will work just as well. Expensive programs like Cakewalk are used for the creation of music and sounds, but Audacity is a free alternative. The best free programming environment is Microsoft Visual Studio Express.

Making video games requires a lot of work, but with the right tools it can be done fairly quickly and easily. Now that you know what tools to look for, it should be a lot easier to find what you need.

Know what you’re getting into

Before you dive into becoming a video game programmer, spend a little time to research what working at a video game studio actually entails. You don’t want to spend time and effort becoming a video game programmer only to realize that it’s not what you were hoping for.

Working as a video game programmer takes a lot of effort. The work hours and deadlines can get stressful, especially near the end of a project. Talk with people who are in the video game business, either in person or online, about any questions you may have about the business.

Create your own games

Try your hand at making your own games at home to see what it’s like. You can start with simple projects first, such as basic text games or simple shooters. Grab a book on video game programming at your local bookstore (there are many to choose from) and dive in. C and Java are good programming languages to start out with.

Don’t try to create something too big or you’ll quickly get overwhelmed. The purpose of this is to learn what it’s like to make games and get a little experience, not to develop the next award winning MMORPG. Development studios will be more likely to hire you if you have a good project or two that you can include with your resume.

Go To College

Currently video game development studios are hungry for programmers. They spend a lot of money using headhunters to help them locate new people to hire. The good news is that once you are in the video game business, there are many opportunities for companies to work for. There are many different projects and locations that you can choose from. The bad news is that the studios can be very picky about hiring new employees with no previous video game programming experience. Therefore it can be very hard to get your foot in the door.

Going to college for a Computer Science degree and getting excellent grades is one of the best ways to show video game studios that you will be a competent and committed employee. The classes will also give you many of the skills that you need to work.

There are schools now that specialize in video game degrees, such as DigiPen. They are still relatively new and it’s not clear whether they increase your chances of getting a job in the video game industry.

Play Games

Know your games! The video game industry is changing at a breakneck pace, so it’s important to stay up to date with the new products. Play many different games every month to see what companies are doing now with video games.

Development studios want to make sure that they only hire programmers that are devoted to video games. Staying up to date with videogames is an excellent way to demonstrate this.