If you haven’t read the first and second parts of this article, you’ll probably want to check them out here and here.
So I was working with a company that did 3D development for games! It was 1998 and things were still fresh and new in that area. The three API’s of mention were Glide, Direct 3D and OpenGL. I was working with some amazing artists and programmers and was glad to be learning more about the ins and outs of 3D development and tools. This was my first taste of a scene graph using Paradigm Entertainment’s Viskit. Scene Graphs are amazing things – and I was learning everything I could. Viskit was based on SGI’s Performer and like OpenGL – they had done something really, really right when crafting this API. Viskit sat effortlessly on top of OpenGL or Direct3D. I ended up working quite a bit on our Multigen loader to get all the bells and whistles supported. We used Max for our prerendered scenes but at this point Multi-Gen creator was huge in developing real-time models. It was a great app that made both programmers and artists feel immediately at home. Scene Graph nodes could be mapped very easily to Multi-Gen nodes. It was a perfect match.
As usual my dedication ran high. I was able to entice a truly stellar programmer from my time in NJ to live with me a significant portion of the month so he could code on the team as well. I worked with two artists that two this day I have to say are second to none. We created an amazingly beautiful world with truly stunning environmental effects. It was enthralling. In the end though small companies with only one project are fraught with peril. In 2000 Aeon closed it’s doors and my love for Viskit took me to my next job at console developer Paradigm Entertainment. They had built a version of Viskit that ran on all the next-gen consoles including the X-Box, Game Cube, PS/2 and even the dreamcast. It could still be baselined on the PC as well. This was my first time working with consoles – a fixed format machine, finally!
It was now 2000 and I found myself in Dallas, Texas, In typical game industry fashion several weeks after joining Paradigm they sold themselves to Infogrammes. However, they still were able to call their own shots for my time at the company. It was awesome having 3 or 4 teams working with 3D technology for multiple consoles. This technology was developed by a dedicated core technology group – I hadn’t been lucky enough to work with a company big enough to have this luxury before. They were the think tank of the company always getting all the heavy pressures but coming up with some truly stunning innovations. All of our artists were using Maya – which worked well, it supported a group hierarchy for scenes like Multi-Gen creator had previously.
Consoles are truly outstanding beasts to develop for. In all the years of working on the PC I had always dreamed of being able to develop for fixed platforms. You could know that once your testing was done it was good to go – no surprises based on machine configurations later in the pipeline. C++ was still the defining factor in game programming, although plenty of PS/2 code was written in Microcode as well. Common acceptance of scripting languages for high level prototyping was still a few years off. The best part about working at Paradigm was access to resources. When teams ramped up they could have 8-10 artists and almost as many coders. Things could really come together fast.
2003 found me back in Virginia where I started working for ITSpatial – a company that did 3D representations of cities a la Google Earth … before Google Earth had been around. In fairness there was Keyhole, but what ITSpatial offered was a different kind of thing all together. ITSpatial built a product that provided data integration and fusion in an environment that supported 2D and 3D mapping. This was perfect for command and control applications, situational awareness and emergency training. It was really one big serious game and had many of the elements of a full fledged game development effort and content production pipeline. The only thing difference was the price point of the product and the number of shipping units.
ITSpatial was strong and knew a lot about sales and business development. They were phenomenal sales people. I will always be amazed at how effortlessly they were able to get potential clients in the building, looking at demos – 3 or 4 times a week some weeks. They really were devoted to finding and wooing clients. This is a skill I’ve still got a long way to go on. I guess in some ways I’m still 100% a programmer at heart:)
In 2005 I broke away and this time started my own company Eureka 3D, Inc. I’m more of a hired gun/contractor with the luck to have access to a lot of other proven hired gun contractors. Eureka3D has worked on entertainment 3D, GIS and I’ve really boned up on my web programming skills in the last two years. Deep down inside I’m still wanting to get back “into the game” and sink my teeth into that big 2 year development project. Right now my pipeline is very full and I really am enjoying what I’m doing – so no complaints!
Here we are in 2007. What have I learned from the game and serious game industry after all these years? So much… I’ve worked with top notch programmers, others who couldn’t program their way out of a paper bag; I’ve worked with great artists, and a young up and coming project manager who was one of the sharpest guys I’ve ever met. I’ve worked with some truly genius biz-dev types that knew how to sell and pitch to clients. In 24 years every theory on project management for software/hardware/games has been debated, turned over and debated again much to my chagrin. I’ve seen every element of the business from pitching the contracts, building proof of concepts to final testing and delivery/deployment/distribution. I’ve learned a thing or two about politics and how important it is to avoid if at al possible. I’ve literally seen programmers in drop-down, drag out fights (visiting programmers from another company no less!). Religious wars over version control systems, graphics api’s, and taking on the latest new technology – been there, seen that.
The main thing I’ve learned however is that I thrive on the high-intensity, creative, ingenius environment that games and serious games involve. Finding a team that works well together, or a few truly brilliant individuals makes it all so worth while. I know I want to keep raising the bar and never lose the adventure. Because in the end it’s about the product, the team, and the experience. What an amazing 24 years it’s been!