Game Development Reference
In-Depth Information
preparing pitches
Designers often write a game pitch to sell their concept to a company. They may
also use the pitch to help potential game makers they wish to work with under-
stand what they want to accomplish. Pitches are much less involved than game
docs; however, they should contain much of the same core information:
Title, including logline
Overview
Gameplay style and intended audience
Concept art
Playable first version (prototype or vertical slice)
The concept art and overview are necessary components of any pitch. A proto-
type of the game is optional but can be extremely helpful in selling the concept.
Pitches are intended to generate interest and excitement about the project and
should not get too bogged down with details. At the same time, they must be
inclusive enough that major questions are quickly answered. In addition to the
key information listed, the pitch should address how long the game will take to
make and potential marketing ideas.
the prototype or
vertical slice may be
a partial or complete
playable level, pro-
viding enough for
someone to play and
get a good grasp of
the gameplay.
Creating the Characters
Characters are, of course, important in most games. Well-made characters will
become beloved, or deliciously hated, by players who immerse themselves in
the game.
G
e t t I n G
I n t o
C
h a r a C t e r
C
o n C e P t
W
o r k
For many artists working in the games industry, character concept is a coveted
role. Very few people find their way into that job, though, particularly those
first entering the games business. Most artists who are doing concept work
have been in the industry for years, working in other positions and learning
the industry inside and out, before they get to create brand new characters.
Many people just entering the industry tend to do so in animation—inbe-
tweens (part of the process in keyframe animation) for characters, second-
ary animations like background nonplayer characters ( NPCs), or effects
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