"The reality is that what we need is a way to reframe the uses and understandings of games so that [attacking them] doesn't work anymore."
In this GDC 2013 IGDA-sponsored panel discussion, Georgia Institute of Technology professor Ian Bogost joined ex-Epic Games executive Mike Capps and IGDA representative Daniel Greenberg to argue against public misconceptions about games -- and what we in the industry can do to counter them.
Watch "Scapegoats No More: Improving the Public Image of Games" here on the GDC Vault.
"Trying to fix a complex system by adding more complexity is going to kick your ass. It's a bad approach."
In this GDC 2014 talk, CCP Games' Matt Woodward explores how "Crimewatch," EVE Online's policing and aggression management system, got into such a bad state that an unofficial moratorium was placed on further development -- and how his team went about redesigning it.
Watch "Crimewatch 2.0: Redesigning EVE Online's Player Policing System" here on the GDC Vault.
"Forcing people to control what they can't see felt like the ultimate taboo in game development."
In this GDC 2014 session, director Yuki Ikeda runs through every aspect of Rain's production, covering everything from the initial planning phases, the selection of the Unity engine and the art production style, to the issues they faced with narrative and game design, as well as the results of their unique marketing efforts.
"Okay, let's get right to the core: Let's analyze why Final Fantasy XIV failed."
Final Fantasy XIV: A Realm Reborn is a game worth studying, if only for the fact that it's proven to be a markedly successful relaunch of the Final Fantasy XIV MMORPG Square Enix debuted in 2010 to disastrous critical and commercial response.
Director Naoki Yoshida spoke at length about the experience this year during GDC 2014, analyzing the causes of the game's initial failure and disclosing some of the behind-the-scenes decisions that led Square Enix to take the game down and relaunch it in 2013. Yoshida also delved into the practical dangers of hubris, the challenges of developing a contemporary PC/console MMORPG in a relatively short timeframe, and the rapidly-shifting landscape of online game business models.
"If you raise your ARPU too high, players will not last very long. When the ARPU is high, we intentionally give away items so it's not too high -- and I don't think this is something other publishers were doing."
Puzzle & Dragons has reaped remarkable profits for developer GungHo Online, and during GDC 2014 the game's executive producer (and GungHo CEO) Kazuki Morishita took the stage to give a polite, measured look back at how the game was designed to entice players while generating sustainable profit.
Morishita led his audience through the game's early development, explaining how GungHo Online found success in the Japanese mobile market several years ago and then capitalized on that success to stoke the average revenue per Puzzle & Dragons player without burning them out -- a delicate balancing act, as it turns out. Morishita also looked ahead to the future of the Puzzle & Dragons franchise, and the company's approach to game development in the wake of F2P gaining traction in the West. at the beginning of the game's development and its exciting journey up until now.
"If you decide against sexualizing your male characters, be very honest about what's going on with your female characters."
The sexualization of female characters is a controversial topic in the game industry, but their counterparts, sexualized male characters are rarely discussed, and even more rarely created. Writer Michelle Clough gave an excellent talk addressing the subject during the GDC 2014 Narrative Summit in which she examines desirable men in video games, how they contrast with current trends in male character design, and how they can create a more welcoming atmosphere for straight women, gay men and others.
Clough also delved into non-Western cultural standards and shared practical advice on how developers can move beyond "male gaze" when writing male characters while avoiding "equal objectification" in an effort to better equip writers and designers to make exciting, evocative games.
Watch "Fewer Tifas, or More Sephiroths? Male Sexualization in Games " here on the GDC Vault.
"This was a way of saying 'we know what you're doing. We're playing back with you, not by AI dodging when you shoot a bullet, but by winking and nodding at you.'"
During GDC 2014 The Fullbright Company's Steve Gaynor gave a great talk addressing questions -- raised in part by the success of Gone Home -- of what makes a game, how interactivity and player agency provide meaning, and what design philosophy and specific techniques the Fullbright Company used to create an interactive experience that resonated deeply with players and critics alike.
Gaynor also spoke to how classical definitions of games and play inform modern video game design, how the design philosophy of immersive simulations can be broadly applied across genres to foster player engagement, and how a focus on accessibility can bring their games to new and vital audiences. Watch the free video of "Why Is Gone Home A Game?" here on the GDC Vault.
"Ugly drawings have the best personality. The goal of the drawing is to communicate, not to look pretty."
To hear Drinkbox Studios' Augusto Quijano tell it, the process of coming up with an art style that uniquely communicates a whole country's rich culture can be daunting. But that's exactly what Drinkbox set out to do with Guacamelee, a vibrant 2D platformer that attempted to build a world out of a country's cultural heritage.
Quijano is responsible for the art design of the game, and in his GDC 2014 talk he tried to give insight into the development process and how Drinkbox tried created a Mexico that feels authentic. However, this process is never done in a straight line, so the talk will show some of those
It's a good talk, one that covers some of the wrong turns and "not-so-pretty winding paths" that Drinkbox during development of Guacamelee and is therefore worth watching for artists and anyone who seeks to make a visually distinctive game. Watch "The Art of Making Guacamelee! -- From Folklore to Finish" for free here on the GDC Vault.
"How many artists find themselves modeling basically the same pair of boots ten times during the course of a project?"
With the increasing complexity and fidelity of character design, generating high-quality assets that players can use to customize their characters seems to be a growing challenge facing many game developers.
Destiny art lead Scott Shepeherd gave an excellent talk at GDC 2014 that focuses on the tools and process Bungie built to create a large variety of complex character content for Destiny. Shepherd details the creation of a customization system that makes the most out of the art created, allows for continued growth and expandability over the lifetime of the franchise, and gives artists the ability to make strong visual impacts quickly and easily.
"Building customizable characters for Destiny" is available to watch for free here on the GDC Vault.
"We live in a time when a young black child can envisage becoming the president of the United States or a CEO of a Fortune 500 company, but not a game developer. Even the indie scene has a huge problem with diversity."
One of the most popular sessions of the annual GDC Independent Games Summit is often the Indie Soapbox, in which ten speakers take the stage one after another to present a six-minute microtalk about an issue they're passionate about that affects indie development. The speaker lineup typically features a diverse array of industry professionals, and this year was no exception: the Indie Soapbox at GDC 2014 featured excellent microtalks from Robin Hunicke, Leigh Alexander, Zoe Quinn, Ryan Clark, Shawn Alexander Allen, Zach Gage and more on everything from challenging the status quo of the game industry to meeting the challenge of remaining creative as a new parent.
If you missed it during the show, the entire session is now available for everyone to watch -- free of charge -- on the Vault.
"[Our] group of players really surpassed all expectation in getting something deep and meaningful out of a 80 by 60 resolution video game."
Game developer and educator Pippin Barr gave a thought-provoking talk earlier this year about what game makers can learn from collaborating with artists in other fields, citing examples drawn from Barr's own experience creating a game -- Digital Marina Abramovic Institute -- as a virtual facsimile of the real Marina Abramovic Institute performance art space.
Barr took time to walk attendees through the ways in which he tried to replicate the body and the spirit of performance artist Abramovic's work in a game, and how that experience helped him better understand himself and his own work, in a 15-minute presentation given during the GDC 2014 Independent Games Summit as part of an hour-long session titled "Creatrilogy: Three Talks Exploring Indie Game Creativity."
You can see Barr's 15-minute talk, "The Game Designer is Present: Collaborating with Mariana Abramovic," free on the GDC Vault.
"If the buddy could jump out of cover and give you away, you could see the YouTubers saying 'fuck you, Ellie.' At that point, we'd broken the relationship between Ellie and the player, and that's something we never wanted to do."
Max Dyckhoff is part of the Naughty Dog engineering team that brought Ellie to life in The Last Of Us, and as part of the GDC 2014 Programming track he took the stage to explain how his team pulled it off. During his talk, Dyckhoff ran down the systems that make Ellie act the way she does and explained why the team chose them -- as well as when they chose to break them to make the game more fun to play. Dyckhoff also took time to highlight some of Ellie's AI shortcomings in very plain, non-specialized language in an effort to ensure that developers all disciplines could walk away with a better understanding of how buddy AI in The Last Of Us ticks.
Check out the free video of "Ellie: Buddy AI in The Last Of Us" here on the GDC Vault.
"Think about how comfortable you are taking money from people, knowing you may never give them anything in return. What would it be like if that money came from your family?"
SCALE creator Steve Swink gave a fantastic talk during the Independent Games Summit at GDC 2014 about the challenges of navigating the ethical quandaries that developers often face while trying to run successful crowdfunding campaigns.
Swink speaks from experience. The 2013 Kickstarter campaign for his game SCALE began on October 18 and was successfully funded November 16, days before the deadline. During his talk, Swink looks back on the campaign and attempts to explain how and why SCALE was funded, the hellish journey he went through to make it happen, and the complex ethical questions he himself encountered while trying to fund his game via Kickstarter.
You can watch "SCALE and the Ethics of Kickstarter" for free here on the GDC Vault.
"Every time we turned around, someone would come up with an idea. Everything we came up with made more work for us!"
Infocom co-founder and Zork creator Dave Lebling gave an excellent hour-long talk at GDC 2014 explaining, among other things, the creation of both the mainframe and microcomputer versions of Zork, the trials and tribulations of coding a cutting-edge text parser, and what it was like to experiment with self-publishing at a time when most PC games were sold in hand-packed plastic bags.
It's well worth watching for anyone with even a passing interest in classic game design; "Classic Game Postmortem: Zork" is now available for free on the GDC Vault.
"Metaphor is so crucial -- it helps [players] connect to your story, and not be afraid of it."
Papa & Yo creator Vander Caballero gave an impassioned hour-long presentation during the Game Narrative Summit at GDC 2014 earlier this year about the state of empathy games -- titles like Gone Home, That Dragon, Cancer, Beyond: Two Souls and Papa & Yo that are designed explicitly to challenge the player on an emotional level.
During his talk Caballero laments the industry's tendency to group these games into broad categories like "indie" that diminish the value of empathetic games, offers suggestions and advice earned from his own experience making Papa & Yo to other empathetic game developers, and expounds upon the value of exploring how games can evoke emotions beyond satisfaction, fear and excitement. The free video of "Empathetic Games Are Here to Stay! What's Next?" can be viewed here on the GDC Vault.
"We really need animation and code to work more closely together, so we can use the code to help offload repetitive tasks from the animators."
David Rosen gave a great talk earlier this year about how indie developers can use simple procedural techniques to achieve interactive and fluid animations using very few key frames, with examples drawn from Rosen's experience creating indie games like Overgrowth, Receiver and Black Shades. Rosen also answers common game animation questions, like "what exactly is the difference between a playable character and a vehicle?" in the 30-minute presentation, which was given during the GDC 2014 Animation Bootcamp.
You can watch "An Indie Approach to Procedural Animation" for free on the GDC Vault.
"Games are, at their core, a connection. Use them to connect to something worthwhile."- Elizabeth Sampat closes out the GDC 2014 Microtalks session with a call for developers to create personal games.
The GDC 2014 Microtalks session is now free for everyone to view on the GDC Vault, and it's worth watching if you missed it during the show. Every year, ten speakers from across the world of games and play come together at GDC to give ten brief microtalks inside of a single hour about their philosophies, their view of our past, present and possible futures, and anything else that they're burning to discuss. The session has a game-like constraint: each speaker gets twenty slides, each of which is displayed for sixteen seconds before automatically advancing, giving each speaker exactly five minutes and twenty seconds to make their case.
This year, the GDC Microtalks session included inspirational microtalks from notable voices in the industry, including Tadhg Kelly, Emily Greer, Austin Wintory, and Elizabeth Sampat. "Microtalks 2014: One Hour, Ten Speakers, A Panoply of Game Thinking!" is available to watch now for free on the GDC Vault.
"AAA companies are starting to wise up, and have realized YouTubers aren't going anywhere. That doesn't mean if you're indie you can't compete, but you should know your competition."
Video game commentators on YouTube and streaming services like Twitch.tv are rapidly becoming some of the most influential personalities in the industry when it comes to educating, informing and entertaining game enthusiasts. Professional YouTuber Ryan "NorthernLion" Letourneau gave a talk at GDC 2014 about how to easily find and contact hundreds of these content creators, and communicate with them as effectively (and efficiently) as possible to hopefully persuade them to cover your game.
The talk was recorded by GDC staff, and now it's freely available to watch here on the GDC Vault.
"Making games is hard. This was the hardest thing I've ever done, and it absolutely destroyed me."
As part of the GDC 2014 Independent Games Summit, Antichamber creator Alexander Bruce spoke very candidly about how -- and, more importantly, why -- he went about developing his IGF Award-winning game, the price he paid to make it, and what other developers should learn from his experience.
It was a powerfully affecting presentation, and a video recording of the talk is now freely available for anyone to watch via the GDC Vault.
The ever-popular #1ReasonToBe GDC panel, inspired by the #1ReasonWhy and #1ReasonToBe hashtagged discussions that erupted across social media in 2013, is a rapid, fun microtalk-style celebration and exploration of how the game industry treats with gender and why alternative voices matter.
The panel returned to GDC 2014 earlier this year, where each panelist shared their experience, its highs and lows, and explored their vision for a future industry that is inclusive for all. The panel was hosted by industry veterans Brenda Romero and Leigh Alexander, and panelists include Anna Kipnis, Colleen Macklin, Deirdra "Squinky" Kiai, Laralyn McWilliams and Lauren Scott.
The free video of '#1ReasonToBe: A Celebration of Diversity in the Industry' is now available to watch here on the GDC Vault.
"Tencent is the largest video game company in the world...this is what the new publishing business in the 21st century looks like, and nobody in the West is paying attention."
The business of game publishing is rapidly evolving, so it's worth watching venture capitalist and game industry veteran Mitch Lasky's GDC 2014 talk about the pros and cons of the competing next-generation publishing models: super-developers like Wargaming, social/chat networks like Facebook or Line, aggregators like Tencent, and more.
Lasky suggests that recent changes in the game industry have not eliminated the economic benefit of scale, that publishers can still offer something of value to developers, investors and everyone who purchases games.
You can watch it here on the GDC Vault.
"Our typical approach to building larger, more dynamic spaces has been to enlist legions of developers creating them, and I think that can only carry us so far."
It's a great opportunity to look back and watch the veteran designer walk his audience through several prototypes in order to explore a variety of dynamic gameplay systems, which he defines as "the rules and principles that govern the way in which structures change through time." He also points out these systems should not be used as a "recipe for design, but rather as a spice."
Will Wright's 'Dynamics for Designers' is now available to watch here.
As part of a GDC Vault retro week we're sharing some newly-archived footage from past GDC events, starting with the 2005 Independent Games Festival and Game Developers Choice Awards. Relive the joy and excitement of this seminal event, which celebrates IGF winners such as Gish, Alien Hominid, and Wik and the Fable of Souls, while Shadow of the Colossus earns a total of four Choice Awards for Sony and Team Ico.
Watch the two-hour IGF and GDC Awards here.
"I believe that a game system should have a life of its own, such that it repeatedly generates experiences that are fresh, engaging, and challenging for the player."
"Good tactile feedback effects are really about adding truth to that app experience."
"If you're doing it all yourself, the marketing spend is all time, not money... It's moreso [about] pounding the pavement, going to conferences, talking to journalists, building relationships."
"Interfaces shouldn't rely heavily on gestures common to a particular language, common to a particular culture or group, while ignoring everyone else."
"[N]one of my clients will admit that they have a retention problem, because that means admitting they're not very good at making games that people want to play."
The content of this talk expands on what Lovell posted earlier on the Gamasutra member blogs, where you can find brief discussions of the core loop, the retention game, the superfan, and more.
"It's more fun and maybe more productive to get teamwork between the creative people and the suits."
"Make sure that anytime the user pulls out their phone, interaction is available, but never force them to [look away from the TV]."
"How do you want the thing you're making to be remembered? How do you want to be remembered?"
There's no easy way to explain what Ste Curran's GDC Next presentation is about -- you have to see it for yourself. In Curran's words, this is a story about a 3AM phone call, a girl called Epher and a heartbeat. The game designer and writer talks about moments in games: how we remember them, why we remember them and why they're the one thing you need to care about. This session is about games, life and death -- it is not a traditional lecture.
"Thinking differently and holding strongly to your strategy can disrupt an entire industry, and in a good way."
"When you're designing a background, if you're not thinking about where enemies are going to go, you're going to have a disconnect."
For a more recent discussion on how Medal of Honor deals with multiplayer expectations, check out this interview featuring Danger Close's Luke Thai.
"Games are meant to wiggle; they're like machines. You poke and prod at them to see what comes out the other end. That is the overall scope of play of the system."
Additionally, GDC Vault has made free a video of Koster on how games and social media are converging. Most recently, Koster has shared here how he analyzes games, evaluating a game's systems and overall experience.
"With the current programmable graphics hardware and floating point pipeline, we could leverage a lot of shading and rendering techniques from the cinematic world for use in our games."
"What people in Japan really would like to see is a very well-developed personality."
Hasegawa also compares the Western ESRB rating system to Japan's CERO system, examines trends in Japanese market (several of which continue today), and more in the talk "A Peek Behind the Shoji: Japan's Videogame Market Today."
"Balancing the gameplay in the first [play] sessions is the best thing you can do in improving your retention rates."
"It's not just about raising money.... this is the mistake I see a lot of other campaigns make. The best thing about crowdfunding is that you get to build your community early."
"We have to learn to tell stories with rules, with design, and with play, instead of aping other cultural forms."
"What was the biggest challenging coming from [Nintendo] DS development to iOS? I would say there was no challenge, like it was such a relief."
"We forget that games are part of a much larger universe,"
"The challenge for many people is seeing women as any characters, and not as women characters, as if it was a subcategory to itself."
This talk is a follow-up to one Murray gave at GDC 2013, entitled "Diverse Game Characters: Write Them Now!" and is also free to watch.
"You have to have the attention of the student, and you have to have them be motivated. This is an area where the game industry has a huge leg up."
"[E]verything you know about video gaming is about to change, thanks to Dreamcast."
"This was the version of the games industry that I'd always been waiting for."
To hear about how Dr. Strangelove and Mission Impossible inspired CounterSpy, check out this interview with Nottingham.
"There's no need to reinvent the wheel... [Using Unity] removes the need for maintaining overhead for the technology."
Other GDC Next 10 talks already available for free include Josh Sawyer of Obsidian on Making a 90s-style PC RPG for today with Project Eternity, Storyteller creator Daniel Benmergui on using plot devices to create gameplay, HumaNature's Greg Johnson on connecting players emotionally in DokiDoki Universe,The Odd Gentlemen's Matt Korba on 'using Lego and literary genius to prototype Wayward Manor', Double Fine 'rethinking the adventure genre' for Broken Age, Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"A lot of people who want to play those [D&D] games are not good at them. That is okay, but we have to help them get into it."
Other GDC Next 10 talks already available for free include Storyteller creator Daniel Benmergui on using plot devices to create gameplay, HumaNature's Greg Johnson on connecting players emotionally in DokiDoki Universe,The Odd Gentlemen's Matt Korba on 'using Lego and literary genius to prototype Wayward Manor', Double Fine 'rethinking the adventure genre' for Broken Age, Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"Publishers give too much... [they also] take too much in return, because they have to. Not because they're evil."
"I think that all games really can use as much polish as possible in the first few minutes."
"Storing data on [a mobile] device is a pretty dangerous activity."
"I wanted the simulation of the game to be predictable so players can feel they are in control of the story."
Other GDC Next 10 talks already available for free include HumaNature's Greg Johnson on connecting players emotionally in DokiDoki Universe,The Odd Gentlemen's Matt Korba on 'using Lego and literary genius to prototype Wayward Manor', Double Fine 'rethinking the adventure genre' for Broken Age, Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"The goal is to make [your app or game] as inuitive as possible, so intuitive that hopefully [it] requires no instructions or any tutorials."
"We wanted to touch on some sweeter emotions, the kind that make you tear up and smile at the same time, not what you usually find in the games biz."
Other GDC Next 10 talks already available for free include The Odd Gentlemen's Matt Korba on 'using Lego and literary genius to prototype Wayward Manor', Double Fine 'rethinking the adventure genre' for Broken Age, Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"Casual gaming is all about simplicity. How am I going to work four characters into a game and not make it overly complicated?"
The second half of the extended session features the first ever Casual Games Summit Design Challenge, with Jason Kapalka of PopCap, Nick Fortugno of Rebel Monkey, and Todd Kerpelman of EA/Pogo each pitching an idea for ten minutes on a casual game about the casual games industry.
"We're not going to tell the story through cut scenes. That's boing. Nobody plays a game to watch cut scenes."
Other GDC Next 10 talks already available for free include Double Fine rethinking the adventure genre for Broken Age, Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"There's a real entertainment to being stuck in the right way."
Other GDC Next 10 talks already available for free include Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', Capy's Nathan Vella on Super Time Force and "turning game jam games into 'full' games", and SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"The professional careers of these athletes has been elevated to the level that they can make a living playing these games."
"Motivation is the single biggest factor in moving a game forward."
Other GDC Next 10 talks already available for free include Team Dakota on Microsoft multiplatform MMO Project Spark and 'turning players into creators', along with SWERY on D4 and 'taking control of the Xbox One's Kinect.'
"We're not using the beta moniker as an excuse for shipping an unfinished product. I would say we're almost proud of shipping an unfinished product."
"If you can make it easy, convenient and fun for the community creators to make their own content then great, you get free marketing."
"This idea that I can play anywhere or any time, you're not going to be able to get away with not supporting it."
"Rather than matching our game design to new input control devices, we need to take control of such devices to match OUR game design."
"Be wary of fairness. It's not balance... Halo's not fair."
The follow-up of this talk presented at GDC 2011, titled "Design in Detail: Tuning the Muzzle Velocity of the Plasma Rifle Bolt on Legendary Difficulty Across the Halo Franchise" is also available to view for free. Additionally, the GDC Vault contains a free video on designing, engineering, and scoring the original Halo.
"Speak up when you become the target [of online toxicity]; don't be afraid to tell your story."
Orth apologizes for his comments, explains the aftermath of the off-hand tweet, and offers up suggestions to ameliorate online toxicity, along with looking at games which attempt to abate mob-like behavior.
"Art is not about wistfulness... it is about standing for something, using the tools in your medium to express complex ideas and emotions."
Other microtalks include Anthony Burch (aka Reverend Anthony) on Ubisoft Montreal's Far Cry 2, Frank Lantz on Mark Essen's Flywrench and The Thrill of Combat, and Jason Rohrer on Terry Cavanagh and Stephen Lavelle's Judith.
"Helping your team being great is a lot like helping our players enjoy a great game."
"Design is about constraining people... Games are interesting, because they're only partly in control -- because they're about teaching you how to think."
For more with Koster, he discusses further blending games with social media in this follow-up interview.
Additionally, GDC Vault has made free a postmortem on Ultima Online featuring Koster alongside Starr Long and Rich Vogel.
"We wanted people to be able to escape the confines of the real world, to try on new identities, to be... not so much new people, but to try to find out the people they really were."
"You don't get a soft launch for a branded game."
"There's something strange about social games in that you don't have to play them... you can buy out, or perform other actions so that you don't have to bother to play the game that you're choosing to play."
"The practice of using games to do more than entertain is now mainstream."
"The games industry needs to make the user experience of tools a priority."
"Empowerment is the ability to create a team or an organization or an individual that feels ownership and is actually driving the results for you,"
For more from George on how Riot Games dodged the pitfalls of rapid staff growth, check out this additional, free GDC Vault video.
"You have limitations as a designer. Suck it down."
"To make really good VR games, there is going to have to be some level of making no compromises -- if you want to have the best experiences."
Some of those biggest hurdles, Mitchell explains, are user interface, simulator sickness, and latency. Additionally, Luckey warns that "Pre-cut sequences [don't work], because that's going to remind the user that they're not really inside a virtual world."
Free video link: 'Virtual Reality Gaming and Game Development'