"Being in the non-game graphics field I run into a lot of incompatibility and problems with conversions, so I am wondering just how are the output graphics targeted? Also, does a game artist focus most on product compatibility of the current market? the speed and ease of use? the complexity and appeal of the graphics? Do you target novices or the already addicted?... who decides, and which aspect takes precedence?"

Submitted by: Byzanthium

Answered by: John Gronquist (artist, Cavedog)

"Yikes.. That's pretty much the whole bag, I can't let that many cats out at once!..

"Product compatability: Only an issue inside the company.

"The company needs to be internally compatable with itself, for the most part.. Kinda like a Studebaker. Still, at least in our company, it's whatever tool get's the job done is the one that's used...

"Within a game development team the principle tools are much the same, and quite often you need to design some internal software tools for specific needs. For instance, Total Annihilation uses Lightwave for 3D rendered animations and the actual modelling of untis, but uses an internal tool for unit animations for the game. And other teams on other games here aren't using Lightwave at all. But then Cavedog's a bit unique in that regard, we like to diversify and not get too stuck on one thing.. If you were to ask 'What's the best 3d Software to learn to get into games?' I'd have to say Photoshop. From there it's a grab bag depending on the company you're looking at..

"But then, the person buying the game doesn't care one iota what tools or pieces of software went into making it. They only care if it's fun and entertaining. Yeah, they do care if they need to buy a 3d card or something just to play it, but that's a whole different ball of wax, outside the scope of an average production artist on a game...

"Targeting of Output Graphics: They've got to be cool. Period.

"Game graphics are for entertainment purposes _only_. No matter what the artist thinks about what is right for a piece or what is realistic or what is 'artisticall proper', game art must have that wow factor that gets people talking, but it also must function within the game... Sometimes that means compromising some artistic ideals, but it's all in pursuit of a goal which is an end product that's beautiful and enduring and playable, and most of all, fun.

"But compromises in game aren't all bad. Sometimes they lead you in new directions you wouldn't have thought of without the technical hurdles to overcome. Some hurdles are bigger than others, and whack you harder in the family jewels at each attempt to stride them, but with effort and imagination and really fast footwork you can surpase almost any 'impossible' technical boundry. Bribing the programmers never hurts though...

"It can be a big negotiation process to try and figure out the limitations of a game in development with the programmers... Quite often you get changes and enhancements from programmers that you didn't expect, and quite often the ones you REALLY need are the ones that are impossible for them within the budget and deadline. That's where the Game Designer comes in and decides what's _really_ REALLY neccessary for the game, and what's just artsy fluff.

"A lot of the big decisions about how to target a game, what technology requirements there are, and exactly what the content is, are handled by the Game Designer, Art Lead, and Devlopment Lead. Usually these heavy decisions sessions involve a lot of beer and mexican food. Somewhere in a magical moment between a chorus of belches and other gastrointenstinal functions, the game design doc pops out in complete and perfect form and everyone smiles this lazy smile and get's on with making a great game... Really, that's how it happens.

"In the end, it's only what goes inside the box that counts in a game, because that's all that the user see's. It's gotta run well, and it's gotta be fun and what they're looking for. If you do that (and you have a Mammoth Marketing Team of Pure Evil(tm)) you'll be a fantastic success!"

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