I'm the Director at Iron Wolf Studios, the developers of The Increment. Oh, and I'm from Yorkshire. Ey up lads.
Okay guys, this is just a short list of games and companies its best not to try and make a mod of as if the company finds it, they will serve a cease and desist order - which often happens just before the game happens to be ready for release and its absolutely horrendous to see all the work go down the drain.
It doesn't matter whether its a mod, game (paid or free) you can still get hit with these kind of orders.
(Note - this is a carbon copy of the one I've got posted on Crymod)
SHORTLIST OF IP'S NOT TO TOUCH
Mods based upon ANY Marvel franchise - Marvel doesn't take too kindly to their IP being used, even if its only slightly similar to their work.
Alien/Predator mods - a big no no. Alien VS Predator, is fine apparently, but not one of the single franchises by itself. Strange, I know, but thats how it is.
Square Enix - Square is an absolute git for this sort of thing. They shut down a very, very promising Chrono Trigger mod that turned into a game in its very late stages, just before it were released.
Sony - Like Square, they're the same. Do it at your peril, as they really don't like people using their ideas without permission.
Konami - Castlevania mods have been shut down, and there was one in particular that was thought to be better than the original game, so it got a C&D order pretty sharpish.
Mods based on any Hasbro franchise - Several GI Joe mods have been shut down on other engines in the past, so they'll doubtless do the same to any others that they come across.
The main problem is that companies can perceive a modification on their Intellectual Property to be harmful to them - it may harm their sales, or may harm their appearance as two examples, hence why some companies won't let you do it at all.
3 GOOD RULES TO FOLLOW:
1) Most companies don't like clones made of their work on another engine - particularly if they have the possibility to be better than their own work.
2) You're better off asking permission if it is using someones IP, than not - perhaps they will say yes to you using their work, if you present it as not showing any kind of threat to their work, or a cause of loss of income to their work.
3)You're better off coming up with your own idea, and if it is based upon someone elses company, have it as loosely based as possible - the looser it is, the less likely you are to get a C&D order from someone.
The primary reason for such rules is that they have the legal responsibility to protect the integrity of their IP. Also if there already is a popular game that is a equivalent it is likely to get CD'd (Cease and Desist.) For example a Halo RTS using SAGE engine (command and conquer) would probably get a CD because of Halo Wars (despite the fact that halo wars is a console exclusive. Or a direct clone of Halo (even if its a TC) in Crysis since its then a direct competitor (and not published by microsoft so theres another check against it.) You must carefully think about the reasons why your mod could be canned.
RULES FOR MICROSOFT IP USAGE:
Heres what Microsoft says in a nutshell:
"Here's the magic words from our lawyers: so long as you respect these rules, Microsoft grants you a personal, non-exclusive, non-transferable license to use and display Game Content and to create derivative works based upon Game Content, strictly for noncommercial and personal use. We can revoke this limited use license at any time and for any reason."
RULES FOR GAMES WORKSHOP IP USAGE:
Like Microsoft, Games Workshop is more than happy to let people use its IP, as long as its rules are followed - disobey them at your peril! You can find them here:
Hopefully someone finds some use out of what I've put there!
As I'm such a kind and caring person, I recently uploaded two guides to the downloads section.
Both of these have been made by the guys at CONJURE, and they're probably the most complete documents that i've been able to find. They're really useful, and worth using as a developer.
You can find both of these downloads at the following links:
Note - I did not write either of these documents, they are provided as is, without any alterations on my part.
Today, I'm bringing you a very important article to you for anyone who wants to get into the industry. I've also commented on certain areas to bring it up to date, as there are certain areas that have changed in the last 4-5 years, and my own personal take on some areas.
You can find the original here:
Some of this will seem like information you’ve heard before, like common sense, like something someone should have sat down and told you. Maybe that’s the case, and maybe this is just affirmation of what you already know, but either way, I think you should read this.
I realize that you might not be a full-time student, and you might be working in the industry. In fact, some of you I know from work, and you’re just here to brush up or learn a new skill. Your continued education is evidence of the dedication you have, and that’s such a great thing to have! I admire those who want more when they already have what they need.
I believe that no matter what and where you choose to learn, be it at a public institute, a private school, or even in front of your computer at home, you should feel comfortable with your decision. You should feel like you're learning and that you've been given the tools you need to succeed in this extremely tough industy.
Q Should you go to college and get a degree?
A Whether or not you should go to college is not the question. Once you graduate, no-one cares anymore. They don’t need to hear about your education and how well you did in school. It’s no longer “What’s your major?” that you’ll get asked everyday, but “What do you do for a living?” To be completely honest, this industry is not skilled enough to concern itself with education as much as doctors or lawyers, or even business people. Yes, there are computer programming geniuses with advanced degrees from Ivy League schools working in our industry, and they are a valuable component to what we do, but they are the minority. Many more of us are regular people, who have found something we enjoy, have some natural talent, and have worked really hard to be good at something we are passionate about.
Q Do you need to go to college to get a job in this industry?
A No, but it doesn't hurt your chances to have a degree, and it won't be frowned upon if you don't.
Q Do employers require a degree to get a job?
A Yes, some of the larger studios do require a degree for some of their more advanced TD, software engineering, and infrastructure related jobs.
Q What about non technical jobs, do those require a degree?
A No. While some schools hold a certain amount of clout with many large studios and their degrees are in fact well respected, like Ringling or Cal Arts for example, artistic jobs do not require a degree.
Q Do I need to be artistic?
A Yes. Hands down it all comes down to your natural, raw, artistic talent, your eye for detail, your ability to take criticism for your own work, and your ability to critique others.
Q What if I’m technical though, do I still need to be artistic?
A At the end of the day, the answer is yes. While it’s acceptable to not have any artistic talent and be completely scientific in many of the job functions, if you truly want to excel in Computer Graphics, you need at least basic artistic abilities to get by. It will only make you a stronger technical candidate.
Q So should I go to college or not?
A Are you talented enough to get a job without it? Are you completely sure about your artistic ability and what you want to do? Do you need more time to work on your portfolio and demo reel? Do you have the discipline and determination to get a job with your current abilities? Keep asking yourself questions, and eventually you’ll figure it out. Some people need college, while others don’t.
Q What if I get a degree in something else?
A That’s fine if you want to have something to “fall back” on, so to speak. Conservative people recommend this option to avoid pigeonholing yourself. I personally think that you should get a degree in whatever it is you want to do as a career. You can minor in something else, like business, while still majoring in art or computer science, for example. Either way, it’s not a bad thing, but it does raise a question as to how determined are you to make it in this industry if you’re already making a backup plan?
Q How do I know if I am getting what I need out of school or not?
A “I feel lost…” I’ve heard that one a lot. I honestly want to tell you to consider doing something else with your life if you feel lost and are already taking classes for your major. If you’re just wondering whether or not you’re getting what you need from school, then you should probably ask yourself what it is you expect. You’re only going to get out of it what you put in. I’ll say that again. You’re only going to get out of it what you put in!
Q Should I focus on art or science?
A That’s for you to decide. Unless you’re absolutely sure you want a technical job that requires a degree, the B.A. vs B.S. is not worth arguing over. You need to pick something that fits your goals, but remember that it’s probably irrelevant later on anyways.
Q My school seems more interested in my money, is this normal?
A Many schools are cashing in on students desire to learn computer graphics. They are almost all the same as far as what you end up with on paper. As far as actual teaching quality, instructor experience, and overall reputation, that all depends on your school. It’s without argument that the most experienced instructors are in LA, SF, and surrounding areas, because this is a central place for our industry. But, each school is different, and it’s hard to say. If you feel like your school is just seeking a profit, then your hunch is right, it is. The difference will be in the graduating students. You should talk to recent grads to find out the truth. Look at where grads are working, not so called “job placement” numbers that the school puts out. Just remember, it’s your responsibility to teach yourself and get a job, not anyone else, no matter how much money you spend on school or how much they promise to help after graduation.
Q What software should I learn?
A First and foremost, forget about the software for a minute. If you are interested in the technical side of things, then you are going to need a strong background in math and science. You'll also need programming experience. If you're mainly an artist then you need to focus on traditional skills such as drawing, painting, and sculpting, among other things. Work on your 2D skills before trying your hand at 3D.
The software is only a tool.
To answer the question though, the software most commonly used for 3D in the industry is Maya. For 2D, Photoshop is still the standard application to know. For compositing you're best bet is to learn Shake and/or Combustion, possibly After Effects. For rendering, Renderman and Mental Ray have the strongest markets. For motion capture, MotionBuilder is the most widely used. Houdini is sometimes popular with FX artists, but Maya also has a stronghold in that market, especially with Maya Fluids.
(My personal take on this? Maya is still the most common for nearly every type of 3D modelling - hard surface and organic - along with animation. Its worth learning if you get the chance. That said, so is 3DS Max. Rendering now commonly uses the Marmosett Toolkit.)
Many larger studios have proprietary packages that are very unique to their pipeline. You will not be expected to know all of these packages, but a basic understanding of each will help you out in the long run. The more you know, the better you’ll understand everything.
It can matter what software you learn, because they are complicated packages that require training and time to understand. The less experience you have with the most commonly used software, the less valuable you will be. This isn't about what software package is better, that is a pointless argument. It's about what the industry is using the most, and that's what makes knowing certain packages more valuable than others.
Q I am about to graduate, what should I do?
A There are a few steps to preparing for graduation and entering this industry. They are pretty simple.
Q What should I have when I graduate?
A The most important thing you need in hand is a demo reel or portfolio with your work on it. You need a resume obviously, but that is far less important than the demo reel. Almost everyone gets reviewed solely on their demo reel, unless it’s strictly infrastructure or engineering, you’re going to need that demo reel. If you don’t have that when you graduate then you are not prepared for the battle in front of you.
Q I graduated, now what?
A Now is when you flood the market. You are new, you are unknown, and you need a job. Flood is the key word here. Send out as many reels and resumes as you can. Take time and make cover letters for each one, and make them specific to that company. Don’t write a generic cover letter, it will get you tossed in the trash with the others. Don’t overdo it either, simple and to the point. Cover letter, resume, and demo reel, 3 things, that’s it.
As far as demo reels go, here are my rules:
(Very true here. Having seen some demo reels, theres too little information, or its too fancy - what needs to be seen is the bare minium, and just show what you need to show. We don't need to see any other stuff, such as fancy graphics, it obscures what you're trying to show. Unless you're trying to showcase those as well, don't bother!)
Q What to put on it?
A Only your best work. As someone who has been directly in charge of hiring and having seen quite a bit of reels, I can say that anything less than your best will cost you the job – literally. If you don’t think it’s great, no-one else will. You should really get as much feedback from people as you can before you cut your demo reel. You need to find out what your best work really is. It could be that one piece that is really great that gets you the job, but if you throw in five others that are terrible, it’s going to cause people to question your ability.
Regarding specifics Tailor your reel to the job that you would like. If you’re a modeler, show models. If you want to animate, show animations. Don’t try to show more than one or two skillsets, even if you want to do everything. You cannot possibly be good at everything, and your weakest areas are going to shine through, not your strongest. Be aware that all of your work shown is being judged, not just what you say you want to do. Not fair? Then don’t put it on your reel!
Q How much is your demo reel worth?
A Technically, it’s priceless. A foot in the door in this industry is tough to get, and you are up against many willing and talented people who want that opportunity as bad if not worse than you do. So, it’s priceless. If you spend one week hacking together a reel, it’s obvious. All the talent in the world won’t make up for rushed work, laziness, or procrastination. Be proactive, and don’t doubt it for a second – there is competition. All that matters is the reel. The demo reel is your only friend, it is your only way in the door, and it should get the majority of your attention.
That’s about half the questions. Usually most people want to know about school and the demo reel, and then they get to the ones I don’t really want to answer, like how much money can they make?
Yes, I know, you have a student loan to payback, and yes, I know you’re probably scraping by on nothing or mooching off of someone else. Yes, I know, you really need a job.
Q So, how much money can you make?
A It depends on the market that you’re in. Let’s take LA for example. An entry level artist at a 3D job might work for anywhere between $12 and $20 an hour, depending on the company, the work required, and your negotiating skills. That could be a 3D tracker, modeler, character TD, animator, lighter, or even a compositor. At this point, it’s almost all the same; you’re looking at equal pay across the board for most entry level jobs.
Q What if I don’t get a job right away?
A That’s normal! You’re going to have to keep trying, and be persistent. Keep applying, keep making phone calls, browsing job ads, and keep refining your work and your reel. Cut a new version of your reel every week if you have to, just keep making it better and better until you get that first job. The first job is so important and so hard to get, you have to really want it.
Q How long does it take to hear back once you’ve applied?
A Unless they’re interested, you won’t hear anything. If they are, usually a couple of weeks at most unless there’s an enormous amount of candidates or someone else fell through. Calling HR a week after is acceptable, but don’t call everyday.
Q It’s been a really long time, should I send in another reel?
A Call them first, ask them what the status is of the position. Ask if you can reapply. If they say yes, then go for it! If not, then don’t waste the postage.
Q I got an interview…so what do I say?
A Just be yourself, take extra reels and resumes and be on time and prepared. Most importantly, be honest; don’t lie about what you can do, because that won’t get you the job. Don’t dress up, but at least look presentable. Be confident, they’re interested in you; try to sound interested in them.
Q What should I ask for as far as money goes?
A Ask them what the job pays when they ask you how much you want. Ask them what they feel is fair. If you feel it is just too low, then ask for 5-10% more, but be careful with your approach. The ball is totally in their court, not yours. If this is your first job take what you can get, ask for more, hope for more, but take what you can get.
Q Is it ok to take an unpaid internship?
A Yes, and in fact many colleges will give you credit for doing so. You should try to do this while you're still living off of student loans or are still living at home. Unpaid should be no longer than 3-6 months. If they ask you to work longer than that for free, then it's not really an internship. Most larger companies offer internships and have a standard application process. This is a good way to get your foot in the door, make contacts in the industry, find out how much you really know, and helps you build your experience and demo reel. Look at it this way - unpaid now equals paid later.
(As a Brit, I'm of the belief that internships are damn well dodgey - getting someone whose unpaid to work on something, for free, like a paid worker? It just seems slightly off to me. Especcially if the person in question is highly skilled, but needs the hands on experiance.. well, they're not having to pay them. Downright dodgey, and I'm glad that they don't do them in the UK. That said, if thats what you want to do, go for it - but theres better options available in my opinion, such as Mod and Indie game work. At least you'll have the opertunity to get paid at the end of the Indie project, unlike with internships.)
Q How do I get experience when all the job ads require experience and I have none?
A This is the catch 22 of any industry. Students looking for work are two things to employers A) unknown B) cheap. Since you are cheaper than everyone else, you actually have a shot at filling in an entry level position, even if you have no experience and the ad says seeking experienced artists only. It's a way to weed out candidates, but companies know that students are still going to apply. Just make sure that whatever job you're applying for, you can actually do! Your unknown factor makes you a possible liability, and so they are taking a risk by giving you a chance. You should be thankful for the opportunity to prove yourself.
(This is still most definately the case now - you can find several posistions asking for 2+ shipped titles to your name for them to even consider you as a possible for that posistion. Years of experiance is another factor - and this is only going to get worse in the coming months with the economic crisis showing no signs of ending for some time.)
Q What about after this first job?
A You can expect to suffer for a little while during your period of being a grunt. It will be hard. Don’t expect them to hand you anything important, and don’t expect them to give you a huge raise. Just do the best you can, everyday, and learn what you can. You’re building your resume, that’s it, bottom line. Live with roommates or friends or family if you can’t afford the market you’re in, but don’t quit just because you can’t afford it! The job experience is more valuable than your pay. Think about your career long-term, not the job short-term. After your first few projects, you might have earned enough respect to do a few things. A) You might have enough experience on your resume to get a job at a different company with a better position or B) you might get a raise at your current company and more responsibilities or C) You might get to try something new at your current job that allows a shift in position. This could take anywhere from a year to two years, but you should see results within that time, otherwise you’re in a stale environment and need to move on.
Q What about later on? What is my earning potential?
A Honestly, the sky is the limit. In LA there are unions for some of the larger shops, and the rest is pretty much standard hourly rates or salary. Many places require overtime to finish projects during deadlines. The lifestyle will be quite comfortable if you reach your earning potential. Supervisor and lead roles pay better, but also require very experienced talent, and companies are willing to pay for that experience. Keep in mind there are dry spells, periods where you won’t have work. Almost all CG work is project based, even full time employees have to worry about projects at their place of employment, because if there’s not projects coming in, it could mean staff layoffs. It’s not uncommon to save two or more months of rent and other living expenses just in case. In fact, you’re playing a risky game if you don’t. Even the most talented artists get laid off from time to time.
The result is a tighter knit community. Many of your future job opportunities will come from past relationships with other employees. As you work at other companies, so are they and you will likely cross paths again. Remember that burning bridges in this industry can hurt your career, not just your current job. Chances are good that you’ll work with many different people, and many of them will know you and each other quite well. In short, yes, politics matter.
(The second paragraph is especially true - I've got lads on my team that came in via someone else they knew elsewhere, or via the time they worked at a past company, or even at a particular university. That bloke that you had to resist punting down the stairs? He might well be your option for a new job, so keep your hands to yourself. It pays to be a nice guy.)
Q What are people looking for in a candidate?
A We don't care where you went, how long you went there, if you were top or bottom of your class. Show us you can do it by showing us a great demo reel and portfolio. Follow that up with a great humble attitude that shows a willingness to learn and the ability to take direction. Then, show up everyday, on time, and do the best you can until it’s time to go home. Show us that you are resourceful and can find answers to problems on your own before asking those around you. Show us you how bad you really want it, and above all, show us the passion, and remind us of how we felt when we were first looking for a job, were filled with energy, and didn’t know what was going on. That’s what everyone really wants in a candidate, entry level or not. It’s all about your demo reel, your attitude, and of course your talent.
Very useful information, isn't it?
My personal view on this subject? Experiance trumps qualifications. Its the same with any form of art, or design. Those 3-4 years that you spend at university learning something - that likely will be obselete by the time you learn it if you're particularly unlucky - and getting yourself into some 40-60,000 of debt is much better served getting some experiance.
This is practicularly the case with any BA course - I know too many people who after graduation, 4 years on, still haven't got a job in art. Hell, someone who got a first in tradiational art works as a cook at a restraunt. A lot of graduates will tell you (within about a year) that they would have been better doing the work, and getting the experiance rather than wasting time and money on university.
A particularly good source, that you're able to do ontop of your normal work, is Indie and Modding projects. Why? That portfolio gets filled up, you get hints and tricks on how best to do something.. You'll often find that Indie/Mod teams have at least 1-3 industry guys in, or industry standard guys. Their experiance is invaluable to YOU as an artist - they're the ones who'll be teaching you how to get those assets looking amazing. I speak from experiance on that one.
Two good examples here - Austin W. the IWS weapon lead started about one year back. When he first joined, he was only just really starting. Now, thanks to input from various team members, hes one of the best artists I've come across in a very long time, far outstripping others with more years of experiance. The same can be said for Chris, hes rapidly improved since the point he joined us.
Well, good luck to those who are trying to get into the industry - now, more than ever, do you need to use the advice given here as its very tough at the moment. But bear in mind something. The way that games are made seems to be shifting - it may not be the multinational that gives you the biggest paycheck, but that little 20 man team in Dorset now.
A few of you might well be wondering what the hell an entry on charities is doing here. Well, I'll tell you.
For a long time, I've been a supporter of the British armed forces, along with the service charities attached to them. I might not necessarily agree with their involvement in Iraq, Afghanistan, or indeed, in Northern Ireland, but I none the less back the men and women of the forces to the hilt. Some might not like the fact that I'm posting this, or indeed, am endorsing these charities. Quite frankly, you can stuff it, if thats the case.
Either way, heres a list of charities that if you've got the time, or can afford it, any donation would be appreciated to help. I'd also like to point out, these aren't just forces charities, but also some charities to help out the victims in conflicts that the armed forces have been involved in. I'll be looking at a way to get these charities links embedded into the game page at a later date, but for now I thought that a article would be sufficient.
NB - I'll update this with further charities when I've found them. Particularly ones related to Northern Ireland.
Help for Heroes was founded by Bryn and Emma Parry in October 2007 out of a desire to help the wounded Servicemen and women returning from Afghanistan and Iraq. The message of the charity is simple: We are strictly non political and non critical; we simply want to help. We believe that anyone who volunteers to serve in time of war, knowing that they may risk all, is a hero. These are ordinary people doing extraordinary things and some of them are living with the consequences of their service for life. We may not be able to prevent our soldiers from being wounded, but together we can help them get better.
Holidays 4 Heroes is an informal group of people, including serving and retired personnel from all the UK Armed Forces and civilian supporters. We try to assist serving and former military personnel and their families, in a variety of ways that might otherwise fall outside the remit of the better-known Forces Charities. We work together through an Internet web-site used, mainly but certainly not exclusively, by Army personnel (The ARmy Rumour SErvice or "Arrse" for short - the military have a highly sophisticated sense of humour!).
If there are any suggestions of charities that can be added to this list, please make them. I'm having some difficulty finding ones based in Northern Ireland that fixate on helping victims of the conflict there, so any assistance with that would be fantastic.
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