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Everything posted by Furyo

  1. You should fix up the menu so once I click on the extra tabs, the first news one is no longer orange. That made me wait for a page to load although nothing was loading. I then understood that subcategories were showing up only after clicking on a third tab. It just makes the whole thing too confusing
  2. If you look at my website, you can see that I went for none. I just wanted my site to feel "button less" as much as possible, so I tried to integrate everything so the work shines more so than the template. I guess I always thought that the interactive icons spoke for themselves and no one had any issue reading them and clicking them if needed. From what Google Analytics tell me, it works just fine, I get hits on all pages (obviously more on the index than any other of course)
  3. I can tell that you already followed a lot of the advice we all generally give on these forums, and even got inspired by many members' websites in your own layout I really like your mod for CryEngine 2, I think the concept is awesome although I would have preferred a different art direction for the props Good job on the Mirror's Edge level, I didn't even know that game could be modded... Portfolio wise, I think you're doing just fine even though I'm not a fan of the rollover effect on the buttons (looks too busy) and you could remove the home button since your name already takes us there.
  4. Furyo

    The Walking Dead

    I think AMC has hit another cult classic wonder with this one, I was totally blown away by the visual quality and acting in the first episode. Takes over from Breaking Bad very nicely
  5. As a kid, because my father was getting promoted. My stay in the US was the first time I moved by myself, at 17. After that, all moves are a combination of studies, internships and job opportunities. That lifestyle is basically all I know and I find myself getting very excited to discover some new place after a while. This industry works quite well for me for now because it gives me all these opportunities and with my previous experiences I never think twice about drastic moves since I'm so used to them. I can literally embrace all these chances and not look back. Besides, if I was to stay in my home country and work there, I would basically have to stick to less interesting projects and half the pay I can now get at major international studios. And I'm 29. Come back 10 years from now and I will be singing a different tune (it started already, as I said prompting my move back to Europe) but I still want to discover places out there. It's exciting. And you can also build a family that benefits from this lifestyle. My parents did it and I wouldn't be living this way without them raising me in a similar environment. My brother and sister are doing the same thing too, it's not just me.
  6. That's alright you can always claim that Naughty Dog is Santa Monica and not LA, everyone will agree with you that it's so much better At least it's not too much away from the ocean and ten times hotter like the San Fernando valley. Hourences I agree with your post a lot, and that prompted my return to Europe but at the same time the passion to make games must still exist, which is why my life will surely make me go away again. Like I said, I haven't really lived in one place more than any other lately if ever so that need is something I'm not entirely sure I know or have. Here is the list of all the moves I made...you can get the idea Creteil, France -> Alencon, France Alencon, France - Fort de France, Martinique, France Fort de France, Martinique, France -> Epinal, France Epinal, France -> West Cornwall, CT, USA West Cornwall, CT, USA -> Epinal, France Epinal, France -> Dijon, France Dijon, France -> Berlin, Germany Berlin, Germany -> Dijon, France Dijon, France -> London, UK London, UK -> Dijon, France Dijon, France -> Orsay, France Orsay, France -> Dijon, France Dijon, France -> Montpellier, France Montpellier, France -> Annecy, France Annecy, France -> Epinal, France Epinal, France -> Montreal, QC, Canada (short stint in Brazil) Montreal, QC, Canada -> Frankfurt, Germany That's 14 moves in the past 12 years. And 5 moves to 5 different studios (4 countries and 3 continents) to make 5 games in the past 5 years (since I joined this industry) That list will surely continue at one point, I already know that.
  7. I've lived all my life moving from one place to another every 3 years on average. Ever since I was 6. So I don't have back-up plans, and I don't have a back-up place to store my shit. With that said I haven't been out of a job since I left my parents' home so I never really had to. As much as this industry is reputed for being unstable, the reality of it is it really isn't any more or less than any other industry but since it's such a global one the impact is felt across the board much faster. If you worked in more common industries you'd lose a job and still would find opportunities within the same city. In the games industry, those cities are very limited and you will have to move quite far for the next venture. If that's more what you're looking for, as far as stability, look no where else but in Montreal, Los Angeles, San Francisco, Seattle and to some degree London and Paris. Taking the visa situation in consideration, you're basically left with Montreal and other Canadian cities to a lesser degree. At least outside of Europe. Welcome to the club of European developers. Yeah, that industry really isn't keen on families...
  8. Europe: Sweden is the closest thing you'll get in Europe to a "stable" industry next to England, which is not saying much. Sweden I think is the second biggest video games country in Europe in terms of numbers of studios or even their importance. The UK (read England) has by far the largest established base, but they're all pretty gloomy right now aside from the infallible Rockstar and a few other successful places like Rocksteady, Media Molecule or Ninja Theory (from the looks of it). At least they keep saying they can't get talent, are pissed at Canada for being so cheap and are disappointed they didn't get their own tax breaks. Germany has Crytek, possibly Yager depending on what they come up with with their recent project. France has Ubisoft that never hires anyone permanently before giving them contracts for as long as they possibly can, so if you're looking for stable you can go somewhere else. Not to mention piss poor salaries and the absolute need to speak French to everyone around you. Bethesda bought Arkane so it will be interesting to see if they can get their heads out of the water a bit higher. Spain has basically very little of any significance, so does Portugal, Switzerland or Italy. The Netherlands has Guerilla, and Denmark has IO Interactive. We'll see what Hourences gets with The Ball, maybe that's a new powerhouse in the making Finland has Rovio that is doing great for itself in a genre that's really not your current one. Remedy too but they're still very small and Finnish only so going there might be some sort of lonewolf adventure. Iceland has CCP (Eve Online) And that about sums it up. Canada: Huge development community in Montreal, followed somewhat by Vancouver and Toronto. Montreal itself has Ubisoft, Visceral, Square Enix, THQ, Warner Bros, A2M, Bioware and an army of small start ups looking to make it big. Quebec has Beenox and Ubisoft. Toronto has only recently started to grow its industry with Ubisoft, but you can also find Digital Illusions and Silicon Knights nearby. Vancouver I hear has hit a bit of a snag lately, with seemingly only Blue Castle Games really hitting it off alright after having recently been purchased by Capcom. Ubi also has a studio there, and there is always Propaganda (Disney) although they just canceled one of their two projects. US: Florida has a few low key studios, while North Carolina still has Epic and Tripwire Interactive. NYC has Kaos still there and no one else (publishers only). Boston is seeing some good stuff with Irrational and Harmonix. 38 Studios just recently left for Rhode Island. The PAX East conference is likely to drive more business around Boston too. Down south, Texas (Dallas, Austin) are doing ok, with the likes of Bioware, Id, Vigil Games (Darksiders) and others. West coast still is where it's at the most, with dozens of studios in California and Seattle, the two hot beds for video games in the world. Asia: Singapore is interesting to follow with the recent arrival of big studios (Ubi comes to mind again) and the film industry (LucasFilms) China and Shanghai have always been a weird situation, where the companies likely to hire an experienced western developer are making games for the western markets too and not for the local one where tastes are drastically different. Japan: Most likely have to be fluent in Japanese to even stand a chance.
  9. Custom maps are not easy to sell because of their nature. A map is the resulting mix of plenty of assets + a layout design. Back in the days when Valve would purchase community maps (as opposed to contracting custom mappers to make maps for them), they had to go through all the red tape of pinpointing each asset to its maker, then give that guy the papers and check that comes with it. I heard that on DoD, it was up to 30 people. Per level. An asset is easy to sell. It's a lot easier to quantify, and it's generally only done by a single person.
  10. I feel bad for not having paid for the game as it was offered to me by our good friends over at Tripwire Interactive....I'll buy your book to make up for it
  11. /fanboy hat on Once again Valve puts on its size 56 army boots, kicks the industry's ass with a brilliant move that benefits everyone, and reaps the results.
  12. http://www.next-gen.biz/news/krome-studios-closes I haven't seen Loom lately on here, can anyone confirm this?
  13. It got absolutely slated in Edge (most respectable and tuned-in gaming mag IMO) so it's officially dropped off my anticipation list. Kotaku slammed it hard too
  14. I've been on a PSN demo streak lately, trying Mini Ninjas (which I thought as simple as the design was, the game really was doing what it was going for rather well), DeathSpank, Earthworm Jim, NBA 2K11 and Lego Harry Potter. Still got Mafia II to go through. As for entire games, God of War III has been absolutely magnificent. I'm done with Hades now so I'll be looking forward to finishing this game this week
  15. I have so many of them too I could write a book. But that's still an over-generalization to classify all studios that way. I would probably agree with the statement that it is the majority of the studios, but some teams manage to stay away. The problem lies in locating these teams, getting on board, moving to the end of the world and staying there. It's not for the faint hearted.
  16. It's an overgeneralizing rant (as all rants) so it's painting a skewed reality with a large brush. Where I agree is that your middle management should absolutely always emerge from the production ranks, so they know who and what they're dealing with. There is absolute great value in leads/managers and producers that have made games themselves because they won't be easily BS'd by slackers and will push for the right things at the right time. Looking back, the best games I've worked on were always headed by such people. Assassin's Creed 2 for instance was such an elite group of people that none of the meddling with publishers ever came down to my level. Because in reality it was kept to a very minimal impact. Both by people on the team that knew what they were doing to perfection and because the publisher trusted those guys and no one else to deliver a game like AC2. It helps that the team was literally an insider to the publisher. When the head of publishing sits down with the team, things that could take weeks to know about get solved in hours. The more you work in this industry, the more you realize that faults are on both sides. The publisher's and the developer's. It usually starts with the developers lying to their heart's content about their capacity to make a game/feature in time and in budget so they can secure their budget. Due diligence should always be key, but publishers themselves aren't necessarily all that savvy about the business (the suits come from all sorts of other industries) and they're just happy to see something that looks good on a screen. The worst games to work on are the ones where the producer comes back from securing funding then asks himself : "How the hell will we make that game now?" The future to me lies in self publishing on one side for small teams, and the continuation of massive AAA teams internal to the publishers with a very close collaboration. In both cases it fills the gap between publishers and developers and that can only be a good thing. The games and studios that have been successful for a few years have all followed this Valve (self published, self developed) Naughty Dog (Internal team to Sony) All indie darlings of the past 3-4 years (self published or in the case of ThatGameCompany, something similar to internal team) Sony Santa Monica Rockstar (internal teams that can get all the publishing they need like GTA and RDR) Ubisoft Montreal and soon Toronto Bioware (they're good enough on their own to have all the publishing support they need) Bungie (very close publishing partners with Microsoft on Halo of course) Crytek (which partnership with EAP makes them able to make the games they want to make, with all the publishing muscle EA can have) Infinity Ward (despite the way it ended, their partnership with Activision was absolutely the source for the galactic success of the MW series) Let me be clear, this close relationship is absolutely necessary, yet should always remain a balancing act without any sort of corporate lackey that just aims to please the other side and not watch for his own best interest and that of his team. The best work will come from those sorts of work relationships, much like it does on every level of the production as good ideas are born from regular ideas everyone has. It's all about balancing both goals and ideas while always keeping the vision of the project intact. And the people that can do that, the executive producers and creative directors that can do that for their production team, are worth all their weight in gold and much much more. As someone who has worked with two such individuals, I can only wish that everyone get to experience it one day.
  17. Oh I'm a noob too, but at least I don't claim to know what I'm doing In all seriousness, sorry for the heated reply there. It wasn't even a bad day, just that I keep hearing this generally from juniors with no clues in all teams I've worked with. I'm sure I have said the same thing when I started too, but with experience and the teams I've worked with you understand that you're really just a noob with a very narrow view of the overall picture most of the time.
  18. Oh please... I'm so sick and tired of this "grunts Vs leads vs managers" mentality...For all the bullshit grunts throw around at the "suits that don't get it", there is a metric ton of fucktards that don't know their left hand from their right and couldn't possibly get anything done by themselves. Good teams make good games, and everyone has his role to fulfill. People that don't get what leads and managers do only prove they should never climb to these positions themselves. Same thing for the salary.
  19. That I have no idea about. To be honest, Eidos Montreal has enough work between Deus Ex and Thief 4 as it is. But yeah there has been a 3rd project rumored there for a long time. Except it was taking a backseat even to Thief 4.
  20. Seniors are expected not to fuck up. Leads lead a team of people whose job title dictates how many fuck ups they can get away with. Of course, that implies that leads never fuck up.
  21. This Lara Croft game (notice it's not called Tomb Raider) has of Lara Croft only the name. It's an obvious business savvy decision to limit the risks on this attempt at exploring XBLA and PSN on the part of Square Enix (Crystal Dynamics was bought a few years back). It could easily be a brand new IP with a new character, and I expect they very much used this game to explore new design ideas for a brand new IP they might be revealing in a while. As a game, (I played the demo) it is a very solid action adventure title, quite a AAA one for the target platform and at a relative low price for its production values.
  22. Last I heard it was a 3rd person action adventure title that had some shooting elements. I know a few more things that I can't spill here, but I'd be very very surprised if it turned into a shooter proper.
  23. I'm pretty sure it's got a lot more to do with the yet unannounced game everyone on the Montreal scene knows about already
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