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About Lateralis

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  1. I'm currently working on the OST for a game I made the music and sound effects for. The OST is supposed to have the game tracks, but in a longer and more satisfying composition. The game itself is a mobile game, and so far we've gotten nothing but good comments about the in-game music, but I really need to get my work critiqued from other musicians as well. Here's the link: http://spacekeeper.bandcamp.com/ What do you think?
  2. What is important in a game engine?

    [quote name='Hodgman' timestamp='1352539015' post='4999597'] I've worked on quite a few commercial games that worked that way. There's a lot of proprietary engines used by big companies besides Unreal/etc -- most companies have their own engine that you've never heard of, and will probably never see the toolchain for. The last console game I worked on, Maya was used as the "level editor". In-game, you could write test/debugging tools in Lua so that you've got extra controls in-game -- e.g. mid-game I could pause the action and enable an IK GUI overlay that shows a whole bunch of rotation axis on the screen, or enable a menu for overriding AI actions, etc... We didn't have an "editor" for our engine at all, just a decent debugging layer built into the game, and a toolchain connected to our regular (non-engine-specific) art/programming tools. Every engine worth it's salt support real-time reloading of game data and script-code these days anyway, so if you want to iterate on a texture, or some game logic, you just edit it in your art/programming tools, and the game updates on the fly while you're playing. [/quote] I didn't know that at all. Thanks!
  3. Do you need a company for you're first game launch?

    I asked a guy who used to go to my university and started up his own business (which is now pretty successful) a similar question, and he said that there is no point in worrying about the business side of releasing your first game until it is completed, because if you spend time learning about the intricacies of the business side of releasing your game while developing it, you're going to waste a lot of time. He said his team spent 10 months researching and taking care of business issues before their product was done, and said the time would've been much better spent perfecting it, releasing it, making money, and THEN using the money to hire lawyers and advisors whose daily job it is to take care of those things. I've no experience in actually releasing a game (though I will soon, which is why I asked him), and this is second-hand information, just to point that out.
  4. Master or "Diplom" ?

    [quote name='Sooker' timestamp='1349275390' post='4986398'] I think the Bachlor is getting the common degree, because it´s not easy to even get into the Master. a Diplom would be better, because i know that I will have my 5years. [/quote] I'm studying in the Bachelor/Master system because Hesse (where I live) got rid of Diplom years ago, but don't you still have to do your Vordiplom before finishing your Diplom? I thought you had to reapply for your Diplom like you do for your Masters. That being said, like someone said before, it really doesn't matter. If you're worried about transferring later on, then the Master's program might open up more options, it might not. That really differs from university to university because in some places the transition from one system to the other has gone well, and in others... not quite so well, so it's impossible to say what's universally better. You'd probably be best off talking to the Fachbereich of the university and getting their opinions, they'll be able to give you information a lot better than we can. EDIT: @DonaMartz, I don't know much about companies outside of the games industry, but they could never say that a job can ONLY be filled by someone with a degree from the Masters system, because that would exclude everybody who studied before that. Within the games industry, from what I've seen, they usually say "Bachelor/Masters in computer science or equivalent training", so if you say "I studied computer science for five years in Germany, here is my German diploma", everybody should understand. Germany isn't some exotic country that has no reputation within computer science (or the technology in general).
  5. Industry's look on tattoos etc.

    Every art team I've seen has had at least one guy with tattoos visible in a t-shirt, in my experience in the webdesign, animation and games industry. Sure, there might be some stuffy people who think tattoos make an applicant worth less, but in my opinion they aren't very good human resource people then. Human resources should be on the lookout for people who will benefit the company, why should they deny someone who has a great portfolio or experience, just because he has a tattoo, earrings, weighs a trillion pounds or has long hair?
  6. What is important in a game engine?

    I don't understand either. If a game engine - especially a 3D one - is supposed to be used for a project with multiple people, how is having a visual editor of a sort NOT necessary? Sure, you can have everything built in 3DSM or Maya and just import the scene, but it'd be impossible to directly test game logic and the graphics within the game engine. EDIT: obviously most of these things would be expected of a "real" commercial game engine, but I suppose you're asking more in terms of, which of these things should you focus on for your thesis, right?
  7. Convicted Felon as a game programmer

    No place I've worked for has ever asked for any background information beyond my resumé. But again, not the US. You're lucky that your conviction was as a kid, though, employers might become suspicious if an older guy has a large gap in his resumé that has nothing in it, but if you go to college and start your resumé from there, then you should be fine. Even if an employer asks and you have to tell them, going to college and proving you got your life together after that will show that you're able to work at things and stick to it. Heck, if everybody was judged for the stupid things we did as teenagers none of us would ever have jobs. [img]http://public.gamedev.net//public/style_emoticons/default/biggrin.png[/img]
  8. Reality check for a composer

    [quote name='IgnatusZuk' timestamp='1349622176' post='4987688'] Nsmadsen clearly knows what he's talking about. But this is exactly the problem, when I or any other developer needs music for a project, I will go to someone like your self who's done a lot of previous work and has an impressive portfolio. So how do the small composers stand out? offer better deals? work harder? [/quote] How does anyone stand out? By being good at what they do and actually DOING it. If somebody wants to become a composer, they need to practice composing music. Post it online, show it to people, get critique, like the Thread Starter is doing. Put your best stuff out for people to see, and do what the other guys in this thread have suggested. Another thing is to not worry about working outside your comfort zone. Doing just retro-style video game music isn't going to set anyone apart from the thousands of other people trying to do the same thing. Invest in real software, samples and a MIDI keyboard, and make great-sounding music. Create albums or miniature soundtracks and put them up on Bandcamp. Get known as a composer, not just a "video game composer". Compose in different styles, expand your horizons and become someone who can create many kinds of music efficiently, professionally and of great quality. And, I can't stress this enough, practice, create, practice, create.
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