Unit
1 - Pre-production requirements of a 2D maze game
By
Dave Johnson
Game
pitch and outline
The game is a deliberately retro top-down maze game in the style of Zelda and early Final Fantasy games. The main character is a brave explorer who enters a hot sweltering jungle and mystical temple to recover a priceless idol. Along the way he will face jungle critters, undead guardians, temple spirits, puzzles, traps and boss fights. The twist is the temple itself will be a character guiding and chastising the player, helping and hindering and presenting the player with a sequence of challenging rooms to navigate. Hopefully this will be voiced by a well know actor (see Voice Actor section below)
.
The game is a deliberately retro top-down maze game in the style of Zelda and early Final Fantasy games. The main character is a brave explorer who enters a hot sweltering jungle and mystical temple to recover a priceless idol. Along the way he will face jungle critters, undead guardians, temple spirits, puzzles, traps and boss fights. The twist is the temple itself will be a character guiding and chastising the player, helping and hindering and presenting the player with a sequence of challenging rooms to navigate. Hopefully this will be voiced by a well know actor (see Voice Actor section below)
.
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| Zelda - An inspiration for the maze game we will create |
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| Final Fantasy - An inspiration for the maze game we will create |
Types
of production
The
type of pre-production for this project will obviously be geared
mainly toward a video game. This will involve idea generation, story
boarding, concept design, location research, programming and
animation, sound, play testing and market research.
However,
I would estimate that there will be other secondary types of
production involved to support and promote the product that I am
making. There will be online, radio and press advertisements, along
with animation production for the game intro, cut scenes and end
sequence. As the game is of a light hearted cartoon nature, these
secondary productions will be of an appropriate style, e.g. hand
drawn characters that will be voiced by professional actors. If we secure well known popular and industry actors to contribute and lend
their talents, it would create a buzz with any publicity material we
release.
Artwork
and Point Of Sale merchandising be will need to be produced to
publicize and promote the game in stores and in the gaming press.
Along with this, online merchandising will be needed such as a
website, banners, and viral videos.
Interviews
will also need to be given to explain the creative vision and
direction of the game. These will be given to the gaming press,
relevant industry websites and at trade shows and expos.
Finance
My
financial costs are based on the software and equipment needed to
produce the game, along with design costs, personnel costs,
contributor costs, promotional costs and any relevant business
support costs. I have broken them down into sections as follows,
estimating what I think I will need to successfully complete
production:
Equipment
costs
The
following is an estimate of each item for the equipment and premises
that we will need to produce a high quality game:
Studio
premises: These will be used as the base of operations for all pre
production and production artwork, design, graphics, sound, coding,
play testing, de-bugging and meetings / focus groups. We are aiming
to hire a studio space in the Leicester area for around £500 per
month. It is estimated that the game will take around 18 months to
complete from it is conception through to final release.
The
figures for this equate to 18 x £500.00 = £9000.00.
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| Game Maker will be essential to developing our product |
Game
Maker: This will be used for all technical coding aspects of the
production such as implementing controls, sprites, collectibles,
backgrounds, music, menus, intro, cutscene and end sequence /
credits.
The
current retail cost for this is £500.00.
 |
| Adobe Creative Suite will also be essential to the game's success |
Adobe
Creative Suite: This will be used for all artistic aspects of the
production such as creating sprites, collectibles, backgrounds,
music, intro, cutscene and end sequence / credits and editing movie
clips.
The
current retail cost for this is £700.00.
Three
Wacom tablets for onscreen drawing: These will be used for drawing
sprites, collectables, backgrounds and in game graphics. They allow a
much greater degree of fluidity and creativity than drawing with a
mouse.The current cost for an A5 size tablet is £30.00.
The
figures for this equate to 3 x £30.00 = £90.00.
Three
high end spec PCs or Macs and monitors: Preferably we would need
three high spec PC's as Game Maker is more readily compatible and has
more features on Windows operating system. We would need computers
that can run a detailed sound and graphics experience, have the
storage space for our software and be reliable machines. We would
also need three large monitors so we can see the game that we are
building at the best quality and resolution. The PC's that contain
the kind of hardware we need retail at around £1500.00 when each
supplied with a monitor.
The
figures for this equate to 3 x £1500.00 = £4500.00.
Internet
access: This is obviously essential for research, file sharing,
conference calling and downloading any Game Maker patches or updates.
Current line rental rate and broad packages are around £30.00 per
month.
Over
our projected 18 month development period this equates to 18 x £30.00
= £540.00.
Cloud
storage space for file sharing: We could use free online alternatives
as Drop box or YouSend It which
would make this costless.
Personnel
costs
The
following personnel and staff will be required to successfully meet
the creative vision for this game and produce a quality product:
Game
designer & director
The
game designer will be designated the task of coming up with the concept
for the game, producing ideas for characters, designing levels and
writing the script and story. It is a vital job, for without the
initial creative spark that sets the game in motion, there can be no
movement forward for the production team. Once underway, the game
designer is often charged with the task of leading the project and
directing the team's creative vision for the product. It is essential
role and with regard to any timescales that have been set out, it is
the designer / director's job to ensure that all milestones are met.
The
average starting salary for a game designer in the UK is £20,000 per
year.
Graphic
designer / concept artist
The
graphic designer and concept artist produces visual imagery and ideas
based on a brief supplied by the director. Using the initial
guidelines of the story that have been set out, the artist goes away
and finds visual reference material via libraries, periodicals,
the internet, photography, movies and television. Using the source
material produced, the artist then combines this accurate visual
information with their own creative ideas. This should lead to
original ideas, fresh thinking and an output of visual solutions for
each given element of the game. The game designer / director will
then approve or ask for elaboration on these designs, moving the
game's visual direction ever closer to the original vision. For
example, the maze game that we will be producing will be set within a
strange jungle temple that is full of creatures, monsters and traps.
It would be expected that the concept artist researches real world
jungle and temple locations, being inspired enough by what they see
to produce a design of their own that is believable enough that it
could exist. The concept artist will work steadily supplying sprites
and characters throughout the entirety of the project, right up until
it's completion. It is also expected that they provide designs for
menus, screens, the Heads Up Display, the packaging and any online
marketing materials associated with the product.
The
average starting salary for a game designer in the UK is £25,000 per
year.
Animator
The
animator would take the sprites and assets created by the graphic
designer and concept designer and add motion to them. They will be
bringing
characters, collectables and scenery to life. This is achieved with
the use of computer modeling and animation software during the
production stage. This role requires closely working with the concept
designer and director to ensure that the animation effectively
conveys mood, emotion, feelings and the overall narrative for the
game. In terms of this project, the animator will be responsible for
imagining and capturing the movements of people, insects, monsters
and any physics within the temple. These physics could refer to
temple traps, lighting and water effects, trees, fire and wind as the
game features all these proposed elements.
They
will also have the responsibility of creating more movie like
elements such as the intro sequence, cut scenes and end sequence.
These will be produced by creating detailed storyboards that will
show the director the way that the narrative is intended to unfold.
It is envisaged that these elements will be produced using 3D
rendering software such as Z-Brush and 3D Max. The finished movies
will then be edited using Adobe Premiere or Final Cut Pro.
The
average starting salary for a game animator in the UK is £18,000 per
year.
Programmers
The
programmers must produce the coded logic and framework that will
create the structure of the game. The work they do will establish a
smooth running and consistent flow of gameplay, allowing the player
to perform actions with designated results. The programmers have the
key task of combining of all the assets produced by the concept
designer and animator into the framework main game. They will be
responsible for maintaining a high level of attention to detail and
sharp eye for any code errors.
Programmers
often come with a specialism in a particular field. This could be
developing
graphics, artificial intelligence (AI), or gameplay software.
They
will effectively build an engine that allows the game to run to such
a smooth degree that it does not ruin the player's experience with
the game.
Our
game will feature many variable actions that the player can perform
to progress. Environment interactions will include walking, running,
pushing, pulling, swimming, fighting and many more. Each of these
actions should produce a result when performed in a particular part
of the game. For example, using a gold idol on a pedestal will cause
a door on the other side of the room to open. The programmer must
maintain the illusion of the game world by creating a complex set of
logic choices within the game code.
The
average starting salary for a game animator in the UK is £40,000 per
year.
Website
designer for marketing purposes
The
website designer is not involved in the making of the game, but they
will certainly have the role of creating hype and a buzz around it
during development. Assuming that timescales are adhered to and
milestones are reached, by the time the game is completed a website
will be online to advertise it. Through this website the developers
will also be able to update players on new content, improvements,
share artwork, game related products, new games that will be coming
soon and much more. We will also be able to collect player data such
as the collation of an emailing list and player suggestions, all
essential marketing efforts. Our game is intended to potentially
be used on Android and iOS powered devices, so there is a strong
chance that players will be able to download the game from the
website.
In
addition, the web designer will be responsible for Facebook, Twitter
and You Tube activity, providing current and potential players with
news and updates on the game.
Most
importantly the maze game should have the longevity and ingenuity to
become a franchise or spawn sequels. A website is the most logical
and effective way of communicating directly with a fan base and
making the kind of games that they want to play and see. The
collection of primary research can be conducted by an online forum
that the website designer will naturally moderate.
The
average starting salary for a game animator in the UK is £18,000 per
year.
.
Voice
over actors
This
role is vital to giving any in-game characters life and personality.
They will be needed to bring sound and emotion to the game world,
helping to connect with the player and move the narrative along. They
will work work directly in contact with the game director, animators
and designers to understand the tone of voice and character that they
will need to adopt. Being a creative role, the developers fully
expect the voice actor to want to input their own ideas to guide the
character's direction. In order to perform this work, the hire of
sound recording facilities will be required which will obviously
require an additional cost.
Generally
speaking, voice actors in video games are paid an hourly rate. Voice
actors are usually paid £100.00 - £120.00 per hour which will involve doing
three video game voices. Talents that have built up a substantial fan
base through their previous game work can negotiate a larger fee.
Similarly any well known movie actors can command a larger fee than
anybody else on the project, often just to play bit parts. This
results in unknown voice actors who play principal characters
receiving a much lower sum of money, as most of the budget is used to
secure well know talent. However, with the gaming industry currently
earning $18 billion a year in the US alone, developers can have an easier time justifying the extra expenditure to secure a celebrity
endorsement.
The
average starting salary for an unknown voice talent in the UK is
£100.00 - £120.00 per hour.
The
average salary for a known video game voice talent in the UK is
£200.00 per hour.
Estimate cost for a voice actor on this project: £2000.00.
Estimate cost for a voice actor on this project: £2000.00.
The
average salary for a well known actor in the UK can be negotiated at
around £26,000.
For
the purposes of the maze game that is being produced, the idea of a
deep, commanding voice within the temple, instructing the player to
act is required. The voice of Patrick Stewart or Ian McKellen would
be perfect as they have the right baritone, gravitas and presence
that the voice of the temple requires. Patrick Stewart has worked on
'The Elder Scrolls IV : Oblivion' for which he received much acclaim.
Ian McKellen has continued the popular movie franchise 'Lord Of The
Rings' by helping it to branch into video games. He has supplied the
voice of the wizard 'Gandalf' in all related games so far.
Either
of these actors would be perfect for the voice of the temple,
requiring us to source other actors to characterize the main player
and monsters.
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| Patrick Stewart |
 |
| Ian McKellen |
Musicians
The
soundtrack of a video game when produced correctly can rank as one of
the most iconic elements of a the product. The role of a composer in
video games is to understand the characters, story, atmosphere and
narrative, producing main themes and incidental music to help tell
the game's story through sound. They can help the player to feel a
range of emotions during play and help the game to live long in the
memory after completion. In some cases the musicians are also charged
with producing relevant sound effects too.
In
terms of what a video game composer can earn, they are usually paid
an agreed fee to per minute of music. In
the UK this can be £620.00 - £1550.00, depending on the composer's
reputation, CV and previous work.
In
the case of our maze game, the soundtrack will require an eerie
jungle, tribal track that builds up in layers as the game progresses.
That is to say that level one, outside the temple will feature just a
drum track. By the time the player reaches the final stage, the drum
track will still be present but will have numerous layers added to it
to sound fuller and more orchestral. The game will also need a main
theme for the menu screen, ambient background music for the cut
scenes and a triumphant end theme. This will more than likely equate
to around four pieces of music that will need to be produced.
Many
large games need 80 – 100 minutes of music. For the purposes of the
maze game in question, 15 minutes for all tracks should be enough as themes will repeat.
Working
to this, and to the lowest possible rate the maze game should equate
to:
15
minutes of music at £620.00 per = £9,300.00
Transport
costs
The
following will be required to travel between staff and contributor
meetings and attend industry events to publicize the game:
Van
to transport equipment to trade shows for public demonstrations of
the game
£2000.00 for a reliable and spacious vehicle.
Fuel
costs
Budget
for the 18 months development = £1000.00
Travel
to meetings and publicity events such as magazine interviews and Q &
A sessions
Public
transport - budget for the 18 months development = £500.00
Location
costs
Much
of the game will feature hand drawn environments and no physical
travel to real locations will be necessary. However, research will
need to be carried out online to source location ideas and
inspiration. This will require access to the internet and online
stock image libraries as well as books and periodicals. It is likely
that simple manipulation of photos may be used for concept art
purposes, marketing materials and in game graphics. Therefore access
to high resolution quality imagery will be essential to the visual
success of the project.
Internet
and Broadband package at £30.00 per month for 18 months = £540.00
Materials
We
will need the following to successfully a produce and market the
game. Please see above in the equipment costs to understand why we
need each material and it's associated price tag:
Industry
standard design software (Game Maker and Adobe Creative
Suite):£500.00
& £700.00 respectively.
Minimum
of 3 Wacom Graphics tablets: £90.00
combined cost.
Minimum
of 3 High end PCs for animation and development:£4500.00
combined cost.
Cloud
storage space for file sharing:Free.
Advertising
and marketing artwork and Point Of Sale material (Please see other
research paper and personnel costs for why this is
vital):Provisional
budget of £50,000.00.
Packaging
&Manual:Provisional
budget of £50,000.00.
Online
marketing materials:Provisional
budget of £5,000.00 to spend on advertising, Google ad words, viral
marketing, site hosting, purchase of domain names, etc.
Facility
Hire
We
will need the following to successfully a produce and market the
game:
Sound
recording studio (all recording to be done locally in Leicester):
Leicester
Vocal Tech recording studio current rate = £20.00 per hour.
Website
at www.leicestervocaltech.co.uk
Estimated cost for this project £2000.00
Estimated cost for this project £2000.00
Studio
environment for pre-production artwork, game programming, animation
and music, web marketing:
Estimated
development time of 18 months at £500.00 rental per month =
£9000.00.
TOTAL
ESTIMATED COST FOR ALL FINANCIAL ASPECTS : £265,800.00
Optional
Crowd funding and publisher contributions
Some
of these could be optional, but most of them are absolutely essential
to meeting the creative vision for the game.
 |
| Kick Starter crowd funding has a history of helping games achieve and exceed their projected budget |
Kick
Starter
Optional
Kick Starter funding to raise additional income: Crowd funding
rewards could be built into the game that are equivalent to how much
has been donated. These could be pre-release copies, in game
appearances of actual people who donated, exclusive suits, weapons,
levels and gameplay content, limited edition packaging, physical
copies of the soundtrack, art book, etc.
Offering these rewards and gaining extra funding to vastly improve the kind of game that is produced. It could help make it bigger, better, longer, technically more powerful and help it to appear on more platforms. This would help its public presence and potential as a franchise.
Offering these rewards and gaining extra funding to vastly improve the kind of game that is produced. It could help make it bigger, better, longer, technically more powerful and help it to appear on more platforms. This would help its public presence and potential as a franchise.
We
should aim to try and raise half the £265,000 budget while
completing production. This would place the estimated Kick
Starter raised at £132,900. This is certainly possible when
looking the success of companies such as Double Fine Games who
regularly exceed their much greater total budgets with crowd funding. For
reference, their website is: www.doublefine.com/games
Additional up-front publisher contributions
Additional up-front publisher contributions
Optionally
securing funding up front from the publisher would definitely affect
the length of time we could give to the project, and the level of
talent we could hire. It would also affect our marketing budget,
product reach and the subsequent effect on sales. This would
undoubtedly affect the final product. Assuming the game is a
commercial success this may influence the publisher in future when
pitching a sequel or any follow up games.
Clearances
We
will to arrange clearances and arrange time schedules to successfully
produce and market the game:
- Voice actor availability
- Musician availability
- Cut scene animator’s availability
- Publisher availability
- Developer appearances at trade shows and events to ensure game exposure
- Artwork for marketing purposes must be approved for release
- Interview dates with the gaming press must be agreed to ensure a ‘buzz generation’ and game exposure.
Timescales
The
following issues need to be taken into account and a realistic amount
of time designated to them. Each task should be given a good amount
of time to ensure the work is of a high quality standard and that the
publishing deadline is met. The development time is currently
speculated to be 18 months. Broken down equally according to each
stage:
Stage 1 - Initial design stage
Idea
generation for game concept.
Pre-production artwork and sketches.
Storyboarding for game, intro, cut scenes and end sequence – requiring hire of development studio.
Production of game sprite assets and texture design – requiring hire of development studio.
Production of music, voice acting and sound effects – requiring hire of sound editing and recording facilities.
Pre-production artwork and sketches.
Storyboarding for game, intro, cut scenes and end sequence – requiring hire of development studio.
Production of game sprite assets and texture design – requiring hire of development studio.
Production of music, voice acting and sound effects – requiring hire of sound editing and recording facilities.
Estimated
timeframe for this stage of 4.5 months.
Stage 2 - Prototype build stage
Building of working prototype for publisher approval.
Developer play testing and de-bugging.
Publisher play testing period for approval and focus groups
Stage 2 - Prototype build stage
Building of working prototype for publisher approval.
Developer play testing and de-bugging.
Publisher play testing period for approval and focus groups
Estimated
timeframe for this stage of 4.5 months.
Assuming these milestones are completed satisfactorily, move on to stage 3:
Stage 3 - Working build stage
Review of publisher and focus group feedback.
Further concept design of additional gameplay, features and content based on feedback.
Development, building and integration and expansion into game of further concept design.
Production of intro, cut scenes and end sequence.
Production of further voice acting and sound effects – requiring hire of sound editing and recording facilities.
Assuming these milestones are completed satisfactorily, move on to stage 3:
Stage 3 - Working build stage
Review of publisher and focus group feedback.
Further concept design of additional gameplay, features and content based on feedback.
Development, building and integration and expansion into game of further concept design.
Production of intro, cut scenes and end sequence.
Production of further voice acting and sound effects – requiring hire of sound editing and recording facilities.
Developer
play testing and de-bugging.
Publisher
and focus group play testing period for approval.
Estimated
timeframe for this stage of 4.5 months.
Assuming these milestones are completed satisfactorily, move on to stage 4:
Stage 4 – Publisher feedback and de-bugging
Review of publisher and focus group feedback.
Further amendments to additional gameplay, features and content based on feedback.
Development, building and integration and expansion into game of publisher feedback.
Developer play testing and de-bugging.
Cross platform integration.
Delivery to publisher.
Assuming these milestones are completed satisfactorily, move on to stage 4:
Stage 4 – Publisher feedback and de-bugging
Review of publisher and focus group feedback.
Further amendments to additional gameplay, features and content based on feedback.
Development, building and integration and expansion into game of publisher feedback.
Developer play testing and de-bugging.
Cross platform integration.
Delivery to publisher.
Estimated
timeframe for this stage of 4.5 months.
Assuming
these milestones are completed satisfactorily, move on to stage 5:
Stage 5 – Publisher game release and distribution
Personnel
In
order to successfully produce the game, the following roles will need
to be designated to suitable professionals (Please see above in the
Financial / Personnel sub section for a breakdown of what each team
member is expected to do and cost):
- Game designer
- Graphic designer / concept artist
- Animator
- Programmers
- Website designer for marketing purposes.
- Online freelance to outsource any of the above roles to ease the workload (Will search on People Per Hour, O- Desk, E-Lance, and similar)
Contributors
- Developers (Design staff, artists, programmers, and play testers)
- Voice actors
- Involvement of a classical actor such as Patrick Stewart or Ian McKellen to help endorse the game (see voice actor section in Finance / Personnel)
- Musicians
- Animators
- Cross platform experts (Game to be released on Nintendo Wii U, Xbox 360, PlayStation 3 and Nintendo 3DS consoles – further expansion to Android and iOS platforms at a later date).
Codes
of Practice
Copyright
There must be a period of research to make sure that the studio is not intentionally or unintentionally taking another game developer’s intellectual property. Everything produced in house must be of an original quality and high standard with proof of concept. This is vital to ensure that we as a developer can be seen to be a credible source of original technology and ideas. This applies to all graphics, sound, audio and marketing materials that we produce.
Similarly we must register all website names, characters, locations and game related information with the relevant copyrighting authorities at as early a stage as possible. This is to ensure protection of our own intellectual property.
There must be a period of research to make sure that the studio is not intentionally or unintentionally taking another game developer’s intellectual property. Everything produced in house must be of an original quality and high standard with proof of concept. This is vital to ensure that we as a developer can be seen to be a credible source of original technology and ideas. This applies to all graphics, sound, audio and marketing materials that we produce.
Similarly we must register all website names, characters, locations and game related information with the relevant copyrighting authorities at as early a stage as possible. This is to ensure protection of our own intellectual property.
Health
& Safety
Any
premises we hire and the installation of any equipment must meet the
highest safety standards to ensure our developers and staff can work
in a safe environment, free from hazards. Additionally the game we
produce must be thoroughly tested so as not to induce sickness,
nausea, fits or epilepsy from the general public. The game must
therefore meet medical standards that will not harm the
users.
Additionally the game will be sold as physical copies as well as digital downloads. The physical packaging must meet high safety standards that will not present a hazard to any small children, e.g.: choking or any sharp edges. In all honesty it is highly unlikely that this will be an issue or a problem since the packaging for the industry is set by the console manufacturer. However in terms of other safety, there do need to be warnings printed on the box packaging referring to issues such as cartoon violence or a suitable age rating for players.
Additionally the game will be sold as physical copies as well as digital downloads. The physical packaging must meet high safety standards that will not present a hazard to any small children, e.g.: choking or any sharp edges. In all honesty it is highly unlikely that this will be an issue or a problem since the packaging for the industry is set by the console manufacturer. However in terms of other safety, there do need to be warnings printed on the box packaging referring to issues such as cartoon violence or a suitable age rating for players.
Insurance
As
a game developer we need to make absolutely sure we acquire
public liability and completion insurance. We need public liability
because we will be selling a physical and digital product to the
public. Digital downloads could potentially cause problems due to
attached viruses or corrupt data. If this harms the user’s machine
any way, we need to make sure that we can cover ourselves for any
property damage. Similarly if the user is in the small percentage of
people who suffer from fits or epilepsy, we need to make sure that we
can provide medical compensation if the worst case scenario should
occur.
Completion
insurance should be acquired so that if we should fail to meet any
allotted timescales or publisher deadlines we can cover ourselves
financially. If the game is advertised with a definite release date,
and we fail to meet that, any proposed legal action from publishers,
manufacturers or distributors needs to be accounted for. This could
potentially be caused by loss of client’s earnings, unforeseen
extra costs being required or penalties for failing to supply the
product on time.
We
also need to make sure that the game and additional marketing
materials adhere to standards set out by the governing bodies below.
Regulatory
bodies
It
is vital that all our output as a developer is approved by the
following regulatory bodies. This is so the game does not cause harm
or offense to any members of the general public. Failure to do so
could result in penalties, legal action or product recall.
The
regulatory bodies concerned with the advertising and media industries
are:
OFCOM
– The Office of Fair Communication
PCC
– Press Complaints Commission
ASA
– Advertising Standards Authority
The
regulatory bodies concerned with certification are:
PEGI
– Pan European Game Information
ESRB
– Entertainment Software Rating Board
Our
game is envisaged as being suitable for all ages. The content will be
of a fantasy, animated nature with a mild use of cartoon violence.
However, there may be some spooky or eerie sound effects that could
be considered as frightening sounds to very young players
In
terms of PEGI rating, this places it at 7. According to the PEGi
website (www.pegi.info):
 |
| The PEGI ratings system |
 |
| The PEGI ratings system rates our game '7' |
PEGI
7
“Any game that would normally be rated at 3 but contains some possibly frightening scenes or sounds may be considered suitable in this category.”
“Any game that would normally be rated at 3 but contains some possibly frightening scenes or sounds may be considered suitable in this category.”
Audio
content will feature a tone of voice and language that is suitable
for a universal audience, so we need to make sure that we follow this
ethic throughout all scripting, storyboarding and recording. It is a
legal requirement that our game content is verified, certified and
rated by PEGI.
In
terms of how the Entertainment Software Ratings Board view the game,
I think it would be rated at an 'E' for Everyone. Based on the
envisaged mild cartoon violence and fantasy setting, this is how the
ESRB would rate the game on their website (www.esrb.org):
 |
| The ESRB ratings system |
 |
| The ESRB ratings system rates a game 'E' |
It
is a legal requirement that our game content is verified, certified
and rated by the ESRB.
It
would also be a prudent move for the developers to become associated
with the following groups. They are all trade unions and will supply
support and advice for the company if any untoward or legal problems
arise. There will possibly be a cost involved in becoming part of
these groups but it would be worth it if they can provide help in the
worst case scenarios.
As members of these unions, they will also be able to advise on the best course of action in marketing and distributing our product. Additionally if any copyright infringement or intellectual property theft should occur, these bodies will be able to provide legal aid and practical, relevant advice.
As members of these unions, they will also be able to advise on the best course of action in marketing and distributing our product. Additionally if any copyright infringement or intellectual property theft should occur, these bodies will be able to provide legal aid and practical, relevant advice.
TIGA
– The Independent Game Developers Association
ELSPA
– The Entertainment and Software Publishers Association
BIMA
– The British Interactive Media Association
Bibliography
http://electronics.howstuffworks.com/video-game-designer3.htm
http://www.inputyouth.co.uk/jobguides/job-computergamesdesigner.html
https://nationalcareersservice.direct.gov.uk/advice/planning/jobprofiles/Pages/computergamesdeveloper.aspx
http://www.prospects.ac.uk/animator_salary.htm
http://www.doublefine.co,/games/
DISCLAIMER FOR THE PURPOSES OF SOUTH LEICESTERSHIRE COLLEGE :
I DECLARE THAT THIS DOCUMENT IS THE SOLE WORK OF MYSELF AND I UNDERSTAND THAT ANY PLAGIARISM WILL RESULT IN PENALTIES OR NON ACCEPTANCE OF THE DELIVERED WORK.
I DECLARE THAT THIS DOCUMENT IS THE SOLE WORK OF MYSELF AND I UNDERSTAND THAT ANY PLAGIARISM WILL RESULT IN PENALTIES OR NON ACCEPTANCE OF THE DELIVERED WORK.
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