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CASE STUDY: Of Games and (going with your) Guts

January 12, 2015

brookeburgess

(by Brooke Burgess)

Happy New Year, kittens and cats!  With 2015 well underway, I find myself shifting gears out of (fiscal) necessity. It happens. The Beast must be fed, and those games and gadgets and goodies aren’t gonna buy themselves, right? Pity.

Most of us don’t have the luxury of making the things we want to make most the time. Instead, our stars tend to align in service of other masters.  That’s where the term ‘service work’ comes from — it’s your focus and sweat, in varying measures of servitude. So all you can do is cross your fingers, twiddle your rosaries, and pray for decent pay, benevolent bosses, and a pinch of artistic satisfaction after the dice are rolled. I’ve just been lucky to get a few more sevens than snake-eyes.

Somehow — whilst chiseling away at the narrative marble to carve out screenplays, a book, a few comics (animated and otherwise), and potentially cool stuff that never saw the light of day — I’ve been able to fashion a (nearly) functional balance between passion projects and rewarding contracts. Writing and narrative design. Animation. Interactive stuff. You can even scope some of it here.

And I’m about to start work on another one, helmed by one of my fav’ game industry pals. We first collaborated on a pretty cool Japanese co-produced PS2 launch game. This was easily one of the most rewarding and educational experiences of my professional life; the scope was massive, the timeline tight, and the team endlessly ambitious. 15 years on, and things have come full circle in many ways. Colour me optimistic.

 

But it doesn’t always work out so smoothly. In fact, it wasn’t too long ago that I swore I’d never work on a game contract again.

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