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Social NintenZone Social 6.0 - L'Arachel Edition, Apparently?

Best Galar Starter?

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?????????????

?????????????

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Oh, I was so confused; I didn't even realize what thread this was. I've never posted on a non-group social thread before!

So...hi! Hello everyone!
 
D

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Schnee117 said:

Lesbian Spartan time *******.

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I'll give them props for that but why is everyone suddenly using Odyssey in their game titles? Everyone knows it's a trademark by Atlus! >:^(
Cutie Gwen said:
Haha this dumb ***** won't even watch with his girlfriend
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Jokes on you, at least I have a girlfriend
 
Coricus

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Schnee117 said:

Lesbian Spartan time *******.

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Wait, Assassins Creed games have romance options?

I know I'm out of the loop on big open world games, I just. . .didn't know that was a franchise that had them, period. Aren't the games some guy going over other peoples' memories and if you go too far off track you get a game over?
 
praline

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Coricus said:
Wait, Assassins Creed games have romance options?

I know I'm out of the loop on big open world games, I just. . .didn't know that was a franchise that had them, period. Aren't the games some guy going over other peoples' memories and if you go too far off track you get a game over?
Click to expand...
Not anymore lol

I don’t even think that’s a part of the game anymore.
 
Schnee117

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Coricus said:
Wait, Assassins Creed games have romance options?

I know I'm out of the loop on big open world games, I just. . .didn't know that was a franchise that had them, period. Aren't the games some guy going over other peoples' memories and if you go too far off track you get a game over?
Click to expand...
They're adding them in this entry and they dropped the Desmond story with AC3.
From AC4 onwards it's basically some weird meta thing where the memories are used for making games.

Only thing you still can't really do at all is kill civilians.

 
Tree Gelbman

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Actual footage of me if Final Fantasy 7 Remake, Square Enix's Marvel Games, or the Resident Evil 2 remake don't show up at the Sony show:

 
Ivander

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So another Nintendo X Ubisoft crossover, eh? With Star Fox and Starlink. Interesting. Interesting. Considering how buddy buddy Nintendo and Ubisoft have been, I wouldn't be surprised if Rayman made a Smash Bros. playable appearance at some point.
 
Wario Bros.

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Let's see if my "Minds Blown at Smash/Splatoon Tournaments" BINGO square gets check off today.

If not, there's still tomorrow.
 
Z25

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I hope we see that avengers game at Sony’s. The ff7 remake would be cool too but I feel like it must be dead or something
 
praline

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Z25 said:
I hope we see that avengers game at Sony’s. The ff7 remake would be cool too but I feel like it must be dead or something
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I think it’s the marvel game, spiderman game, death stranding and one other.
 
ChikoLad

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vaanrose said:
With all due respect, it is absolutely about being "good enough."

Game Art is a fun job. That means it attracts a lot of people. But it's still a job. One that requires a lot of technical knowledge. And the vast majority of people who want to do the job don't possess that knowledge.

You need to know exactly how to build assets for the pipeline, and if you do it wrong, it doesn't matter how good it looks, it's unusable, you've wasted your time, the developer's time, and you don't deserve to get paid for it. It's like any other job. Do the job poorly and you'll be out of a job. Ubisoft isn't going to pay for work they couldn't use even if they wanted to. It's dumb to even suggest they should.

And you know that old saying "those that can't do, teach?" Lots of kids are going into random game art programs at their schools that are taught by, at best, people who haven't worked in the industry in a decade, or at worst, never worked in the industry to begin with. All the skills they learn are years out of date. This industry moves really, really fast. I was taught a texturing program a year and a half ago that is already outdated and replaced by a better one, and I was being taught by a skilled texture artist working at a major studio that was using that program at the time.

For my demo reel, every teacher I've had has made it abundantly clear that my reel needs to have ninth generation quality assets on it, even though the ninth generation consoles are still years away, because those games are already being worked on, and that's the level of work you need to demonstrate you're capable of doing. Meanwhile most game art students are still being taught to make everything super low poly like it belongs on a damn ps3.

And even if you know HOW to do the job, you've also got to do it fast. Anybody can make an amazing model if they spend six months on it. But you're only gonna get a week to do it. You're more likely to get hired if you can do an 7/10 model in a week than the guy who can do a 11/10 model in a month. We get 20 weeks of demo reel at Gnomon, wherein a prospective character artist, like myself, has to do five characters. That's 4 weeks for an entire production quality character, and even that is twice what you're likely to get on the job. Meanwhile, most people have a reel they worked on for a year with two, maybe three, characters in it. Is it really any wonder, then, why these people struggle to find work? They haven't demonstrated they can do the work FAST.

My favorite example of this. I can't find the larger ones they put at convention kiosks, but the collector's edition models are the same sculpt.


Sony decided they wanted some fake wooden statues at a God of War booth. Two days before the convention. So they went to one of their lead character artist, Eric Valdes, and they asked him to make them some. In the span of TWO work days, he sculpted these statues, 3D printed them, painted them and they were on the show floor that weekend. And they were so well received they stuck replicas in the collector's edition.

And that's why he has that job.
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I think you missed my point.

Nobody is denying that being good helps. It always does. In some cases, it's all you need. If you want to work as a creative mind within the industry, be it programming or artwork or anything in between, your standards should be professional at a minimum.

But it's never enough for every situation. For instance, some people get turned down from jobs simply for the software they are familiar with. You could be an expert in Blender and be capable of pumping out ninth generation models at an incredible rate, but that won't matter if the company uses 3DS Max and doesn't realise how easily meshes and data can be ported between the two programs (IMO it's best to know both, along with any other software you can get your hands on). The opposite can also happen of course, despite 3DS Max being viewed as better suited to professional AAA game development.

And since you brought up schools and colleges, that's another relevant issue. Your background in those can make or break your chances regardless of your skills. Some colleges will literally offer you direct connections towards getting a job due to their ties with a specific company, so a lesser skilled individual would have more of a chance as long as they worked at and acceptable level and rate, as opposed to someone coming from a less prestigious educational background who worked at a superior level and rate because they use their free time to hone their skills, as opposed to the first guy who only does the work at college. The former individual would have the goodwill of friends of the company, after all. Problem is, the more prestigious colleges cost way more to get into. Or, if you're coming straight from secondary school, you have to score really well in exams to get into the best colleges. But you will be doing so in areas that don't relate to your field and you just don't understand as well.

Even just your country of birth can be an inhibitor. I live in Ireland, and there are **** all game dev jobs here, and not many prestigious colleges for the field. I know this and I intend to pursue a career in this field anyway by my own methods, but you can't deny that there are way more opportunities for someone born in America or Japan or the UK as opposed to someone born in Ireland. It is flat out harder to break into the industry if you're living in Ireland. You have more hurdles, one of the most likely ones being money and the mental hurdle of leaving loved ones behind for a long time.

I'm not denying the importance of honing your skills and doing the research on the most relevant tech. Being good at your job will always be of help, and it's important. But talent and skills alone don't secure a job for everyone. You kind of pointed that out yourself by mentioning things like schools teaching dated techniques and software (something I can vouch for - I was taught UDK when UE4 had been out for a while).

It's really up to the individual to explore the avenues they have, and what can specifically land them a job they want. However, simply telling people to "git gud" isn't going to help them. Anyone trying to get into any creative industry probably realises that they should be doing that.
 
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Fenriraga

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The way my new avatar got cropped makes it look like Sonia is leaning down to give me an earful for not cropping the picture correctly at the top.

Kek.
 
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PLATINUM7

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Non-Australians should not be allowed to say Yeah Nah.
 
allison

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vaanrose said:
With all due respect, it is absolutely about being "good enough."

Game Art is a fun job. That means it attracts a lot of people. But it's still a job. One that requires a lot of technical knowledge. And the vast majority of people who want to do the job don't possess that knowledge.

You need to know exactly how to build assets for the pipeline, and if you do it wrong, it doesn't matter how good it looks, it's unusable, you've wasted your time, the developer's time, and you don't deserve to get paid for it. It's like any other job. Do the job poorly and you'll be out of a job. Ubisoft isn't going to pay for work they couldn't use even if they wanted to. It's dumb to even suggest they should.

And you know that old saying "those that can't do, teach?" Lots of kids are going into random game art programs at their schools that are taught by, at best, people who haven't worked in the industry in a decade, or at worst, never worked in the industry to begin with. All the skills they learn are years out of date. This industry moves really, really fast. I was taught a texturing program a year and a half ago that is already outdated and replaced by a better one, and I was being taught by a skilled texture artist working at a major studio that was using that program at the time.

For my demo reel, every teacher I've had has made it abundantly clear that my reel needs to have ninth generation quality assets on it, even though the ninth generation consoles are still years away, because those games are already being worked on, and that's the level of work you need to demonstrate you're capable of doing. Meanwhile most game art students are still being taught to make everything super low poly like it belongs on a damn ps3.

And even if you know HOW to do the job, you've also got to do it fast. Anybody can make an amazing model if they spend six months on it. But you're only gonna get a week to do it. You're more likely to get hired if you can do an 7/10 model in a week than the guy who can do a 11/10 model in a month. We get 20 weeks of demo reel at Gnomon, wherein a prospective character artist, like myself, has to do five characters. That's 4 weeks for an entire production quality character, and even that is twice what you're likely to get on the job. Meanwhile, most people have a reel they worked on for a year with two, maybe three, characters in it. Is it really any wonder, then, why these people struggle to find work? They haven't demonstrated they can do the work FAST.

My favorite example of this. I can't find the larger ones they put at convention kiosks, but the collector's edition models are the same sculpt.


Sony decided they wanted some fake wooden statues at a God of War booth. Two days before the convention. So they went to one of their lead character artist, Eric Valdes, and they asked him to make them some. In the span of TWO work days, he sculpted these statues, 3D printed them, painted them and they were on the show floor that weekend. And they were so well received they stuck replicas in the collector's edition.

And that's why he has that job.
Click to expand...
This post is unintentionally a really good argument against the spec work Ubisoft is perpetuating.

Companies generally try to figure out if someone’s fit for a job *before* they hire them, in order to avoid wasting time and labor. If you’re not “good enough”, you don’t get hired, and you can move on with your life. Spec work skips this crucial step: you perform the labor without any hiring process, oversight, or assurance that you’re even a halfway decent fit, and then you submit *finished work* and find out if you won a one-time payment.

This means that Ubisoft is setting up an expectation not to compensate for the work of the vast majority of people working for them. If you’re doing labor for a corporation without getting payed, you are being exploited. Spec work is unacceptable.

Given your emphasis on the need to be *really* good for your labor to have value to a company and the fact that this work is ultimately still a job, it seems like you already understand all this. So I’m a bit confused about the fact that you’re on Ubisoft’s side here. If these artists aren’t good enough, then why is Ubisoft wasting everyone’s time?
 
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GGBoyz ( Japan ) beat Yeah Nah ( Australia / New Zealand ).
GGBoyz is doing so good right now.
 
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