Konsolowa Tęcza

[Paliodor 1 811]

Akurat takie upgrade'y do nowszych/dopakowanych wersji to nie jest jakiś rzadki widok jeśli chodzi o blaszakowy rynek.

[Figaro 8 234]

Polecam wam genialny wywiad o niesamowitej historii jaką jest Doom na 3DO. 

 

 

 

We're talking about a lot of bleak stuff, and we need to get a little bleaker still with this whole 3DO thing. I know you had said on the Internet you're happy to talk to anyone --
Oh yes. That was a hell project.

Has anyone taken you up on that yet?
Nope. You'd be the first person to interview me about that. No one has actually formally interviewed me on the wonder that is 3DO Doom.

I know there's a lot to talk about, but, like --
Oh, it's a whole conversation in and of itself.

I'm sure it is.
Let me give you the elevator pitch, and I'm really gonna edit it for time.

[Laughs.]
There was a company called Art Data Interactive. The CEO was a guy who was just a member of a church somewhere in Southern California. Somehow he was able to convince his friends at the church and other friends that 3DO is the wave of the future and that he needs their money to go ahead and form a game company. "Get in on this."

He raises $100,000. He then starts making this game. A Battle Chess ripoff.

And he feels the way he wants to do it is he wants to film all the people dressed up as chess pieces and that's what he's going to put on the game board.

The guy has no clue at all of game development. Nothing.

So he films all these scenes with money and then runs out of money and then he finds a programmer who makes a really crappy game because he just slaps everything together. And then he puts it out in the stores and thinks he's going to make all this money.

Well, the sales weren't really much and he got notified from all the vendors, all the stores saying, "Who the hell are you? Who is Art Data Interactive? I don't know. This chess game? Interplay's got Battle Chess. Why would we want your chess game?"

[Laughs.]
Well, at the time id was doing Doom and it was the big thing, and he thought, "Hey, if I license Doom and put it on the 3DO, it will put my company on the map."

So he went over to id, and at this point and time, id really wasn't sold on doing anything on consoles. At that time. And so they said, "You know what? If you want Doom? $250,000 and you'll get the rights."

Which at that time, everybody who saw this said, "Nope! Too expensive. Too expensive."

And really, id was just telling everybody to get lost. Randy, on the other hand, the CEO, said, "It's $250,000?"

And he raised it.

[Laughs.]
And he went to id and said, "Here's a check for $250,000. Give me the rights to Doom."

And id's like, "Okay? Here's the source code to Doom and thank you for the check, have a nice day."

And of course, you know, the royalties. Standard contract.

Well, Randy, because he did not know anything about game development, said, "Okay, we're gonna make the best game of Doom ever! We're gonna have new levels, new weapons, new everything."

As soon as he signed the contract -- the ink wasn't even dry yet. And he went onto a press tour telling everybody he has the rights to Doom, Art Data Interactive is gonna kick ass, they're gonna have new levels, new weapons, and everything.

He even had a friend of his draw mock-up weapons. Just draw them on Photoshop and so forth and give him these screenshots. And he was saying, "These is actual game screenshots."

Of course the press is going, "Oh my God! This looks great! This is awesome!"

Well, he then went to a developer and said, "Hey, can you just do a version for me?"

And they said, "Sure. What you want is gonna take two years and a budget of, like, $3 million."

He said, "Oh no, no, no. You're lying to me."

He went to another developer who, in turn, somehow he finagled them to start on the project but he actually was intending not to pay them.

Well, after a few weeks of working on the project, this company then said, "Hey, we need our milestone payment."

And Randy after a while hemmed and hawed and hemmed and hawed and then this company stopped working on the game.

Well, now this is around July of 1996 I believe. And because of all the press tour, the 3DO company was actually hearing all the positive press that Doom was coming out for the 3DO and people were getting excited about it.

And then they come to find that after they went over and actually inspected Art Data Interactive and realized that this guy has no clue about what he's doing, they're like, "Oh my God. We are screwed."

[Laughs.]
At this particular time, I had just shipped Wolfenstein 3D for Interplay. I took the Mac code, which I did -- because I did the Mac port of Wolf 3D, ported it over to the 3DO, enhanced everything, and the game was running 60 frames a second. It was a phenomenal version of the game.

I was already known to 3DO, so they contact me. 3DO said, "Hey, we've got this project. Doom. We really want this game out by Christmas. Is there any way you can go ahead and do it because you know id?" I said, "Sure. Put me in touch with Art Data."

Well, of course, I talk to Art Data and they say, "Sure." We negotiate a price. They said, "Sure." And then I said, "Great."

Then what Art Data told me was the game was 90 percent complete. All I needed to do was finish up some bugs and get the game ready for shipping and get it out in about a month or two. And for me it's like, "Oh yeah. I've been doing projects where I just fix bugs and get games out the door. Nothing new to me." So I say, "Sure."

So then, of course, I ask them, "Give me the source code and the assets for Doom that you've got."

Two weeks go by and I keep getting excuses after excuses.

Randy says, "Well, why can't you just start it right now?"

I said, "Because I need this."

So I then called id and they sent me all the assets and everything for the Jaguar version of Doom as well as all the PC version stuff, too. I look at the code and I say, "Yeah, the Jaguar version, I can just do a straight port."

I said, "Well, I'll start working on it because I'm running out of time."

Well, then, I had a friend of mine who was working at Art Data come and privately take me aside and say, "Uh, we don't have anything. The developer that was working on it? They only got to it, like, the code to compile and nothing -- everything Randy was saying was lies."

I'm like, "Oh."

And that point, I was gonna say, "Okay. I'm canceling this project. We're done."

But then I had my friend at 3DO begging me, "Please. We really need this game out by Christmas. People are expecting it."

So I then told 3DO, "Sure. I will do it for you as a favor to you at 3DO. To help you with your platform."

Because they've helped me and helped build my company at the time. So, I did it more as a favor to them. And at that point, I then realized that because of all these delays and everything, it is now August. They need to ship this for Christmas, which means the drop-dead date for the disc would be November.

So that gives me October -- let's see. I started around August and I released the final disc on November 1st. That was 10 weeks.

I just said, "This is just going to be a straight Jaguar port."

I spent 10 weeks producing the source code that you saw up on Github and of course, when I was submitting builds to Randy over at Art Data, the frame rate wasn't that great because I just got the game prototype.

I didn't have time to optimize it.

And he was saying, "Why isn't this game running at 60 frames a second? Where is my new weapons? Where is my new stuff?"

And I'm like, "Do you have any idea how game development is done?"

Because he truly believed all you had to do to put a weapon in a game is to draw it.

He did believe that if you drew a weapon -- you just gave me the art file -- I would put it in the game and it would magically fire bullets. It would do all the effects animations and switch and -- he thought that was just me putting the art in there, hit "compile," and I'm done.

And so he was really pissed off at me during the development of the game because he was saying, "Where's new levels? I promised people new levels."

And then of course I turned around and said, "Well, you promised me a source-code drop and you said this game was 90 percent done and here it is I have to start from scratch."

And there were several times where I wanted to quit that project.

But every time, I was talked out of it by my friend at 3DO.

And so eventually I got the game basically shippable. I don't call it "finished." I call it shippable.

At that point, I sent the discs off to 3DO. 3DO fast-tracked it and had it approved, like, within a few days.

And then Randy at Art Data did the stupidest thing -- even more stupider than everything up to this point. He pressed 250,000 copies, as I understand it, of Doom for the 3DO.

To put it in perspective, there were only 250,000 3DOs in existence. It was a blunder of the same proportions of ET, where Atari printed out as much cartridges as there were consoles. Which is -- mathematically, you're never gonna sell them all.

Randy was so hard up for money because his investors were saying, "Hey, we invested all this money. Where are your profits?"

He thought, "All I have to press is 250,000 copies of the game, ship it to the stores, and then I will get the money for 250,000 copies."

Not understanding that you have to advertise it. There has to be a market base. It really shows how little he knew of the industry.

So, of course, Doom 3DO comes out. They sell, I think, 10,000 copies, which is what they should have sold.

Then it was, of course, universally panned. The music was great, but, you know, I myself knew the game was gonna get rated poorly because of the frame-rate issues.

But it was like -- 3DO had been promising people either indirectly through Randy that Doom was coming out that they had to fulfill their promise. So, in that particular sense, 3DO as well as Logicware, did fulfill the promise that was given to the public that 3DO Doom was available in stores.

[Laughs.]
Now, we didn't fulfill the promise Randy was saying, which was new levels, new weapons, "the best Doom ever."

No.

Yeah.
And of course after that, within a few months later, Art Data Interactive went out of business.

Now trust me. That's the Reader's Digest version.

No, I believe you.
To give you an idea, the whole thing from start to finish was about 14 weeks. I got the phone call in July. Then negotiated the contract around the end of July. About two weeks later we got the contract. Then it was two weeks of them stalling of giving us what we were being told was available: a semi-finished version of Doom.

And so once it became obvious to us in the middle of August that they were not going to deliver us anything, that's when I took it upon myself to actually get the assets from id.

And that is when I began the port from the Jaguar port base.

And so I had from two weeks in August, all of September, and all of October.

Near the end of October was when I delivered the final discs of what I would consider a shippable version of Doom for the 3DO. And it went straight to 3DO. I remember we sent it to them in a FedEx overnight.

They then had their testers play it and I had to do one rev in which we made the screen smaller to get the frame-rate up. And then, at that point, they approved the golden masters, sent it off to Art Data Interactive. As far as I know, they never played the game. They just simply said, "All right! Press a whole bunch of them."

Even 3DO said, "Wait a minute. You really shouldn't be pressing this many." But he said, "No, no, no. It's going to sell gangbusters." They said, "Well, if you want to write us a check for that amount of money, we're not gonna stop you."

The rest is history. [Laughs.]

What did Randy think of the final product?
I'm certain Randy was pissed off about the final product because he was expecting it to be the best Doom ever. A game that was supposed to make him famous and his company famous and sell so many copies that it would effectively make him a millionaire.

No.

That game wasn't going to make anyone a millionaire. Not that version of the game, anyways.

And of course, within time, his company imploded around him.

What's he doing now?
I have no idea.

 

 

 

 

edit: Dla ciekawskich - osobą z którą przeprowadzany jest wywiad to programistka Rebecca Heineman

 

 

 

A to jest Randy, jedyny ślad po nim w internecie:

 

 

xD 

Edytowane 5 marca 2016 przez Figaro

[raven_raven 12 013]

Damn, jedna osoba była w stanie w 10 tygodni przepisać grę, wtedy z najwyższej półki, z jednej platformy na drugą. Nie w idealnym stanie, ale wciąż. To były piękne czasy.

[Heviro (Fanboy BDG) 155]

Z jednej strony piękne czasy  wolałbym  jednak chyba czasy 6 generacji. Dużo ciekawych tytułow , niezależnych studiów itd

[Mejm 15 332]

Gdyby ktos byl jeszcze ciekaw infa odnosnie zamkniecia GT to Shane, byly pracownik i dosc znaczaca postac swego czasu w GT, prezentuje swoja historie. Jest to czesc jego autorskiego programu ze strony, ktora zalozyl (niestety dostep jest platny).

 

[XM. 10 907]

Nawet cutscenki w dlckach do MGR sa lepsze niz w podstawce
1:42-3:10 to bajka z udziałem Sama
https://youtu.be/kjaeaZQWeLA?t=1m42s

Gameplay KOSI, a poziom trudności jest mocno podniesiony w górę.

[Gość DonSterydo]

Przeczytałem, że CDP liczy obecnie aż 400 pracowników zatrudnionych przy produkcji gier i chcą dalej zwiększać zatrudnienie O_o Dzięki premierze Wiedźmina 3 w zeszłym roku zarobili na czysto ponad 340 mln zł. 

 

Serce rośnie, mam tylko nadzieję, że nie przeholują z nadmiernym rozrostem studia bo są zarówno lata tłuste jak i chude

Edytowane 10 marca 2016 przez DonSterydo

[Paliodor 1 811]

Również mam nadzieję,że nie przesadzą z rozrostem bo to częsta przypadłość różnych dużych studiów,że ludzi od cholery, a jak tak się przypatrzysz to znaczna część jest zbędna, a tylko koszta to generuje. No ale są już tyle lat na rynku,przeszli tak długą drogę od mało znanego dev'a do takiego o światowej sławie więc myślę,że mają głowę na karku i się im noga nie powinie.

[Gość DonSterydo]

No 400 osób to trochę dużo biorąc pod uwagę, że w zeszłym roku zarobili 340 mln zł, ale rok wcześniej ledwie 9.

[Paliodor 1 811]

Różnica kolosalna, oby dobrze tą kase zainwestowali. Następny dużych tytuł od nich,czyli Cyberpunk pewnie jeszcze szybko nie wyjdzie więc ciekawe czy może planują jakiś mniejszy projekt i stąd zatrudnianie większej liczby ludzi.

[Gość _Be_]

W raporcie podali, że 336mln z zarobionych 340 idzie na rozwój firmy i wykupienie swoich akcji aby nie skończyć jak ubisoft hehe

[Figaro 8 234]

Zwiekszaja liczbe pracownikow bo zwieksza sie tez liczba projektow, pisze wyraznie

[Rayos 3 171]

pisali chyba też, że chcą zrobić jakiś mniejszy projekt. Nadal po cichu liczę na jakiegoś Gwinta online

[Paliodor 1 811]

Na Gwincie by pewnie całkiem fajnie zarobili, taki tytuł nastawiony na online z pewnością odniósłby jakiś sukces. Ale nie wiem czy by się to udało bo gdzieś czytałem,że z tym Gwintem są  jakieś problemy z takim osobnym wydawaniem bo niby podobne to jest strasznie do innej karcianki jaka jest na rynku. Niestety nie pamiętam gdzie to już czytałem.

[Gość DonSterydo]

W tym roku pewnie sporo zarobią na dalszej sprzedaży gry (wiadomo, to już nie będą takie kokosy) ale też na nowym DLC i sprzedaży poprzedniego, więc się nie zdziwię jak bez wypuszczania żadnej gry mogliby zarobić jak z 50-70 mln zł w 2016.

[Hubert249 4 279]

[Gość DonSterydo]

Bożesz ty mój! Będzie chyba trzeba zamawiać z Nipponu bo europejskiego wydania raczej nie dożyję 

 

 

Sprawdziłem na necie, gra jest normalnie teksy w ingliszu w grze

Edytowane 12 marca 2016 przez DonSterydo

[Gość mate5]

Bazując na tym jak się światło odbija, to płyta ma chyba miłą, lekko chropowatą powierzchnię.

[kubson 3 189]

Tak sobie gram w Bloodborne i jeżeli chodzi o klimat to strasznie czuć w tej grze Nightmare Creatures, co to była za gra w sumie chciałbym zobaczyć slashera w tych klimatach albo waśnie reboot Nightmare Creatures

[Figaro 8 234]

A ja chciałbym slashera w takich klimatach

 

 

 

[nobody 3 504]

Berserk - najlepsza manga ever. Wszystkie soul games i bb to piękny hołd dla tej marki. 

[Pupcio 18 476]

chyba jest nawet jakaś gierka berserka na ps2

[Figaro 8 234]

Dodać do tego jakąś badassową historię z charyzmatycznymi postaciami (vide DMC 3) plus dev Platinum Games i mamy goty

[Gość mate5]

Jedna walka z bossem Bloodborne

Ludwig

to czysty Berserk. No ku.rwa, ta arena, AI bossa, druga faza, muzyka, czułem się jakbym walczył z Nosferatu Zodd. W ogóle walka z tym bossem i ten monolog po niej to jedna z najlepszych rzeczy w grach video. Romantyczność pomieszana z bestialstwem. To, że jestem ci.peczka i zajęło mi 2 tygodnie żeby tego bossa pokonać też zresztą podniosło wrażenia.

[nobody 3 504]

błagam nie mów że też na ng jak tego drugiego dziada, bo załamie się nad sobą (po 15-tej próbie na ng+2 odpuściłem i przyzwałem pomoc npc huntera jak jakiś lamus).

Lady Maria

za to GOTY boss, wymagający, wredny, ale 100% uczciwy (padła za 10-tym podejściem)