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Gameful Art

Interview with Dave Taylor by Jolene Spry

Dave Taylor

Jolene: Q: You're currently an independent producer in the video game industry.  What does that entail?

Dave : The short answer is phone calls, emails, meetings, and meals.  It's a cocktail of design, recruiting, advising, negotiation, raising money, pitching, and firefighting.  I'm juggling multiple projects, and my days aren't structured like they are for an inside game developer.  It more closely resembles being an indie film producer.

Jolene: Which aspect of your job do you find the most challenging?

Dave : The most challenging thing is trying to convince a game developer to make a simpler, uglier game that is so much fun that you are in danger of losing all your productivity to it, and then making it pretty after you've finished that.  They tend to want to make it pretty first, which is good short term strategy to improve business development and morale, but it is bad long-term strategy for making a great game.

Dave Taylor

Jolene: How many projects do you usually have running and how do you keep them all balanced and on schedule?

Dave : Usually 6-12 with only 1-3 being what I'm focusing on in a given week.  I'm not particularly good at keeping them balanced and on schedule, but I do work hard to make sure that I'm working with good, talented people, and I am more interested in seeing things done right at a lean burn rate, rather than quickly.

Jolene: You got your start in the gaming industry working on such iconic titles, including Doom and Quake.

How did you initally get into the industry?  What sparked your interest?

DOOM Dave : I adored my Apple //e games, like Ultima and Castle Wolfenstein.

In college, I produced a couple of multiplayer games for the IEEE CS National Programming Contest while doing journalism for one of the first electronic game magazines called Game Bytes (edited by Ross Erickson, btw, who would later go on to be the pivotal dude in making Live Arcade for the Xbox360 successful).
      I did a speakerphone interview with the id Software guys for Game Bytes, and there was this really, really nice guy and this other guy who had utterly fascinating answers about how to get direct access to the framebuffer on a NeXT box.  The really nice guy turned out to be Jay Wilbur, and the guy with all the fascinating answers was John Carmack.  I wrote John and asked him how to get into the game industry.  He invited me up for an interview, and he offered me a job doing the Genesis port of Wolf 3D.  By the time I started, they needed help getting Doom out the door, so I did that instead.

Quake Jolene: How long have you been in the industry now and what’s the difference between working for someone else and working for yourself?

Dave : 13 years with a brief hiatus at Transmeta doing processor work.  That was a lot of fun.  You had this big ugly architecture that is the x86 being emulated by the lean, graceful VLIW processor.

When everything's working properly, you feel like part of a team in either case.  I'd say that working for yourself is both highly educational and poisoning.  It's educational because you learn what does and doesn't matter.  You learn all about the bottom line, and you learn a ton about corporate structures, intellectual property law, accounting, all the stuff that companies take care of for you.  But it's poisoning because once you learn this stuff, going back to a company can be extremely challenging.  You often find that you know a lot more than the guy in charge about certain issues that you feel you can be very helpful with, but more often than not, the guy in charge doesn't want to listen or to have your help, so you get frustrated.

Jolene: What is your favorite game that you've worked on?
Why was it your favorite?

Dave : That's a tough one.  I love and hate them all.  I can't stand releasing them, because I always want to do just 5 more things.  I'd say my fav is Doom 2, because I just adored the multiplayer in it, but I'm pretty sure the best is yet to come.

Jolene: Honestly, who's harder to work with, artists, designers or programmers?

Dave : They all have issues.  Getting an artist to use a new tool is hard.  Getting a designer to flesh out a strong high concept instead of bolting on extraneous stuff is hard.  Convincing a programmer to get in management's face on the important issues is hard.

My favorites are usually the junior talent.  They have great attitudes, they work hard, and they're great at embarrassing the senior talent by doing the things they say is too hard or impossible.

Robo Blitz

Jolene: With legislators trying to crack down on content in the game industry, do you think that will affect how you do your job?

Dave : Not too much.  I'm starting to be involved with less violent games.  RoboBlitz, for example, has no blood, no gore, teaches kids about physics and challenges them with puzzles, and just got rated in the Top-10 list of MediaWise's 2006 Buying Guide for Parents .  And despite being family-friendly, it's packed with totally bleeding-edge tech.  It's the first Unreal Engine 3 game on Xbox Live Arcade, all the animations are procedural, and almost all the textures you see in there are procedural, using this amazing new technology called ProFX from Allegorithmic.  As a result, the whole thing and all 19 levels fit into just 50Mb.

Pro FX

Jolene: What part of your job do you enjoy the most?

Dave : I love so many parts of it.  The fleeting joy is the high out of a really strong pitch at a great meeting, doing design and business strategy brainstorming, or negotiating great terms or just greeting the perfect sunny day with a cappuccino from the cafe around the corner.  The lasting joy for me so often has nothing to do with the game industry, but rather with seeing friends I have made in the process starting to achieve their personal dreams.  I just thrive on that.

Jolene: What platforms are you currently developing for?  Which is the most challenging?

Dave : Xbox Live Arcade, PC, Mac.  Holistically, PC is the toughest, by far.  Tougher to get noticed, way too wide a set of machine configurations, impossible to test them all, hard to convince developers to go low-tech and eschew the use of high-end GPU's.

Consoles are easier, because you can depend on a single platform, so you can go nuts on the GPU and frolic in shaders.  Even the PS3, which is an architectural nightmare, is easier than the PC, because there's at least only one of them, and there's a ton of power to play with, assuming you've hired level 20 dwarven warriors to mine the performance.

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DesignMentor Training offers graphic and web design training for professional or serious amateur designers. Our design classes bring an international design faculty and student population together in an engaging online learning environment. Classes are project-based resulting in portfolio-quality designs. Rolling enrollments mean you may register today and start right away.

DesignMentor Training is the professional design training division of Sessions, online school of design. Sessions.edu, Inc., ( www.sessions.edu), founded in 1997, was created with the goal of bringing new media design education to graphic and web designers worldwide, through online education.

A pioneer and a leader in the distance education industry, Sessions has delivered thousands of classes to students in over 100 countries. Sessions is accredited by the Distance Education Training Council and is the first online school licensed by the New York State Department of Education.

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