Haruna's Portfolio | Haruna Akatsuki's pixel art works and game development blog

The H.A.Test for Design

By Haruna | Published May 24, 2015

The Joel Test is a great 12 question litmus test for programming team efficacy. I’ve devised a similar test for design teams. Design teams can really make or break a company, seeing as to how design is effectively steering a boat. You could have a great design with an allegedly impenetrable hull, but if you have nitwits at the helm, congratulations you have the Titanic.

Got a sinking feeling?

There are a few measures that aren’t 100% foolproof seeing as to how nature is capable of rapidly iterating its way to a “superior” idiot, if you can say “yes” to all of these at your company, that’s a good thing.

Does Design use source control?
Is there a centralized wiki/internal website/physical bulletin board where you can easily view schedules & tasks?
Is the process of determining if a task is done clear and understood by all?
Is there proper risk assessment and analysis conducted for all design decisions?
Is the spec kept up to date?
Do you use the best tools possible?
Do you have a good relationship with QA?
Do you do hallway usability testing?
Do designers shut up during hallway usability tests?
Are the results of hallway usability tests turned into plans of action?
Is there a place designers can easily meet with other team members to discuss matters without distracting other team members?
Do the designers play the whole game regularly?

1. I’ve seen source control used for code but not other types of assets. This is absurd. There are times you absolutely have to look at previous versions of spec and potentially roll back designs as programmers occasionally have to roll back code. It sucks, but it’s important to back stuff up.

2. Know what you need to be doing? And what you have left to do? Makes it easier to manage your time when you know what you need to do and by when.

3. So, who says whether something is done? How are these criteria determined? A lack of clear goals will kill focus, leaving people to thrash like fish out of water never sure if they can move on or not. A lack of clear goals and how to achieve them creates massive anxiety.

4. Implementing anything is a risk. Meaning it will eat money and time(salaries, electric bills, another word for more money) to do. Some features run the risk of not working as planned. Or just not being feasible altogether. Risk management is another word for looking over things and seeing “this is important, this is not” and “this is worth spending the money to make, this would be nice if we had the extra cash.” If anyone says “we’re doing EVERYTHING!” run away. Run far far away.

5. Due to the iterative nature of finding the fun, it’s always worth asking if design documentation is up to date. The testers will want to know how things are supposed to behave so they can easily differentiate bug behavior from expected behavior. You’ll waste a lot of QA time explaining spec in bug reports vs just handing them an up to date spec.

6. Making ANY department waste time working around cheap tools is false economy.

7. Intelligent capable testers are worth their weight in gold, platinum and ink jet printer ink. In addition to bugs, the capable ones will no doubt find odd patterns, difficulty spikes and other issues.

8. Your friends in QA will no doubt get used to your game, bugs and all. Hallway tests are for getting usability bugs that only a fresh perspective can really give.

9. For these usability tests to really be valid, no hints! Sit down and shaddap. If your interface isn’t well designed enough for a new user to understand what to do, it’s not well designed. Fix it.

10. If your hallway tester finds something un-fun, wait until the marketplace gets a hold of it! They’ll love it! More like they’ll love writing smarmy reviews about what big idiots the design team is and how they can do better. Even the biggest Luddite they know could do better.

11. Not breaking others’ concentration is important, but being able to talk about issues freely is vitally important. Communication is everything in this study by Paul Tozour.

12. Do the designers play the game and the WHOLE game, not just the portion they’re assigned to cover? Maintaining continuity is difficult. Shigeru Miyamoto’s method of creating the first level last is a smart method of making sure players are equipped to handle challenges as they come(heck, I’d say design a level backward and create the boss first.)

Posted in Game Design, Game Industry | Leave a comment

So who’s going to survive 2015?

By Haruna | Published January 10, 2015

It’s been a year since my last article. I meant to post a lot more often, including some positive articles on development in Japan but after a horrid job that left me livid and broken mess physically and emotionally. It’s been 8 months since I was in that situation and while my current one is still a bit crunchy, it’s nowhere nearly as bad.

I knew that Free to Play regulation was around the corner back in 2014 but I didn’t see Comp Gatcha getting outright banned and how hard it’d kick Gree and other companies that relied on it to milk their whales.

Mobile gaming has evolved as I’ve expected. While the “spin a gatcha for rares!” and fusing cards together to make better ones is still ever present, Japan’s top mobile games drastically increasing in quality. Shironeko Project is a brilliantly designed mobile-friendly Playstation 2 quality action RPG. Most of Japan’s top grossing apps are quality games.

Japan will continue to fall behind the tech gap for the saddest reason ever: software engineering is just not taken seriously in this country. Not even at top academic institutions. I searched the top 20 universities in Japan for software engineering programs and the results were dismal. I’ll publish my findings in my next post.

The Japanese market is still anyone’s game. The ability to put out an engaging mobile game with hit potential is within the means of a lot of Japanese creators. Whether some can get the means to muster up the funds and use them wisely enough to is anyone’s guess.

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5 Types of Game Companies likely to survive 2014

By Haruna | Published January 28, 2014

Wow, 2013 was the varied year for the game industry in Japan. Gungho, became a juggernaut with Ragnarok Online, went semi-dormant and rose again with Puzzle Dragons. Classic JRPG developer Neverland closed down, much to the disappointment of fans. The Playstation 4 lands in Japan this February, as Japan seems like it’s finally learned how to cope with the pressures of PS3 quality demands. Who’s likely to emerge strong this next year? Here’s my personal take:

1. Pachinko Profiteers

Most notable example(s): Sega Sammy, SNK Playmore, too many to list.

Why did Sega buy Index Corp for US$100 million? Creating Atlus IP-based gambling machines is listed at #3 in this press release according to Eurogamer, but ranking-wise it should be reason #1. While Index went bankrupt due to other failed ventures, Atlus was able to chug along in the black releasing quality games with reasonable budgets and most importantly, getting those games out to their foreign fans. Gambling revenues are nothing to scoff at. According to SNK Playmore’s investor relations page, Pachinko and Pachi-slot pull in 19.3 Trillion Yen or 28.4% of all recreation spending. Obviously, not all of it goes to the developers, but enough does to keep a number of developers afloat.

2. Lean Mean Fanservice Machines

Most notable examples: Shanghai Alice, Nihon Falcom

Nihon Falcom could write a textbook on the care and feeding of fans. Their music has been some of the best the industry has ever seen and they milk that fact for all its worth. Live concerts with their JDK Band, more arrange albums than any other soundtracks on earth, art contests, they engage with their fans in all manner of ways. They create all manner of content outside of their games; who knows, maybe the total volume of content they’ve created outside of games has exceeded the content they’ve created for games. This type of survivalist is all about making the most of their Intellectual Properties, building smaller, more profitable products that satisfy their fans.

3. The Evolved

Most notable examples: Score Studios, Silicon Studios, possibly Konami, Aiming Inc.

Some people got the memo that times are changing and to meet the growing demands of next generation development, some companies are powering up their pipelines, making tools easier to use, bridging their tech gap with -gasp- middleware and getting with the times so to speak. Treating tools as investments to be reused, prototyping to find the fun before wasting employees weekends making changes that really shouldn’t be made right before major deadlines. The Evolvers have a much better chance at creating top class, polished products that compete in the global marketplace, though I’m sure that there are some companies that will still try to brute force their way to the AAA market.

4. Bubble Riders

Most notable examples: Gungho, DeNA, Gree

There’s always bubbles in any market and someone will always manage create a bubble. The first and best are always the ones to prosper when new genres or platforms, etc become one big shiny thing to get consumers to part with their money. Gungho has ridden 2 big bubbles so far, the MMO bubble with Ragnarok Online and the Smartphone Games bubble with Puzzle & Dragons. Whether or not they will survive depends on the size of the bubble and level of hubris the company has in regards to planning for government regulations, popularity fallouts and other bubble poppers.

5. The Just Plain Lucky

Most notable examples: Square Enix, Capcom

When gambling with lots of money in AAA, some game companies are taking serious gambles at blockbuster movie studio levels, only without German tax shelters. The luck won’t necessarily come this year; being lucky enough to have a hit to milk or continue to be able to milk said hit are both due to luck in Japan. In the expensive West, sequels tend to be thought of ahead of time as they’re what will make the money back on the investment on infrastructure to produce the first game. Such planning ahead is almost unheard of in Japan.

Gaijin Dev: “Hey Taro, we’re going to localize Farming Sun 2 right? Have you made sure the UI can handle English?” JP Dev:”Why would I do that?” Gaijin Dev: “Farming Flame Sun sold 4 times as many copies in America than it did in Japan.” JP Dev:”I just used the old UI before localization from FFS1 again.” When working with minds that brilliant, just about anything good these days is a stroke of luck.

For indies in Japan, they face the same great odds as other indies do. Drowning in the flood, advertising a game while building it, having a zero marketing budget, crowd funding is starting but it’s considerably farther behind than it is in the West. And whatever you do, don’t be lumping doujin games in with indie. A lot of doujin developers will use others’ IPs and make fan tributes, like Aja Games Koumajou Densetsu: Scarlet Symphony. While some are certainly professional quality, hitching a ride on others’ IP without permission is a humongous risk. Maybe not in the case of Touhou, as IP owner Zun being an indie himself is fairly lax; but if he ever exercises his right to crack down, I would not bet against Zun.

I meant to post this on New Years Day, work doesn’t like me having free time. What a pain in the neck, literally.

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5 Things Likely to Drive You Crazy While Working in Japan

By Haruna | Published July 31, 2013

These are the 5 big things that have certainly annoyed me about working in Japan vs working in the USA. I can’t say anything for other regions of the world, but from what I’ve heard, these 5 offenses are primarily perpetrated by Japanese companies.

1.) What janitorial staff? That’s YOU! Along with the office manager, IT squad, etc. For most JP companies, the thought of hiring a few extra hands to help keep the machine well oiled just doesn’t happen. You’d think the country known for hiring 3 clerks per register at department stores(one to wrap your item, 1 to take your money and finally one to hand you your change) would be overflowing with support staff. Ha ha ha…Nope! When your name is on the 掃除当番、 you’re expected to either come in early or clean through your meal breaks.

Now if I was properly paid to do these duties, I wouldn’t be pitching a fit over this, but alas, they’re cutting into my break time, aren’t paid and worst of all, the company expects you to shoehorn this crap into an already oppressive schedule. Producers don’t schedule enough time for workers to eat and sleep properly, what would make you think they properly account for all this cleaning? Japanese public schools force students to clean their campus; this makes sense to me, it teaches a life skill along with responsibility and all that. But for work? In the USA, wage gaps are significantly higher than in Japan; I wouldn’t be surprised if a janitor’s daily wage is close to 1 hour of a senior software engineer’s wage. In Japan, unless you hit director level, you’re probably going to make more money as a cleaner.

2.) The wretched pay scams. Japanmanship has covered the Great Bonus Scam(which I’ve had in a contract) but there’s another sinister type of contract I’ll call the Great Overtime Advance Scam. What this does is it keeps your base pay in the poverty zone and then inflates it to something you can live off of via advances in overtime pay.

The # of hours of additional overtime are straight from a contract I’ve held. Most game companies keep your base salary close to what McDonalds workers earn, then pad up the salary a bit by adding these up front overtime payments.

基準年俸 Annual Salary assuming 2080(40 hours/wk x 52 weeks)

加算年俸超過勤務等４５時間分Additional 45 hours of overtime/month

加算年俸超過勤務等２０時間分 Additional 20 hours of overtime/month

Assuming the 40 hour full time work week for 4 weeks, the company is paying for 225 hours/month. Or 56.25 hours per week. Hoo boy, life would be nicer if I only worked 56-57 hours a week…

Can’t you use the pay as a ceiling for overtime worked? I’ve heard of other people using that approach but I’m not sure how successful it is.

Will I get pay deducted if I don’t do that overtime? In my considered legal opinion, maybe. A friend of mine who was pulling hundred hour weeks fell ill and his doctor told him he could work but he wasn’t allowed to do overtime. His contract was similar to mine, he had overtime advance payments to pad his salary and when the company saw the doctor’s note, they only paid him his base salary for the whole year, even though he’d easily been pulling stupid levels of overtime for at least half the year.

Was that move illegal? I would hope so, but given the crack pot labor laws here, there could be a loop hole that allows it for all I know. Said friend quit immediately and found a job that was far better.

3.) Deadwood floats to the top. 正社員 are difficult to fire and this cuts both ways. It’s important to encourage risk taking as the more creative you are, inherently the greater the risk. It’s a lot more risky to make a hardcore 4 player action RPG with a brilliant hand painted visual style in 2D than it is a lame-o social card game.

Sadly, the low pay, the mismanagement and all that allow for 2 types of people to float to the top: miracle workers and the termite infested bloated dry rotten dead wood.

4.) Working FOR not WITH directors. Games you’re a fan of are like sausages, you’ll reel in horror when you find out how they’re made. The horror factor increases by the hundred fold when you take a low paying job on the floor of the sausage factory itself. Having worked with some fairly popular creators in Japan, it became obvious pretty quickly that you’re simply their arms and legs.

There’s a significant difference between demanding high standards and expecting the team to be ESPers that move exactly how the director wants them to.

5.) The hours. Horrid for productivity, horrid for health, and yet they don’t change very quickly. A lot of the project managers/schedule makers in the Japanese game industry are still using old methods from the Super Famicom days. Accounting for Murphy Time-time needed to recover from when Murphy’s Law kicks in-is almost unheard of. Top managers who should be serving as Development Abstraction Layers get weak in the knees during negotiations with clients and throw up white flags before shots are even fired.

Fortunately, the number of companies that are reducing hours are growing, albeit slowly. Even more fortunately, one of the companies doing that is Nintendo subsidiary Monolith Soft. They are an industry leader in Japan and hopefully monkey see monkey do will help perpetuate better work balance. There’s some hope for this, though change can’t come fast enough. Monolith posted a big recruitment article on CGWorld Japan touting that they know how hard it is to keep hours down in creative industries but with pipeline improvements, it’s possible.

Next! 5 reasons I’m staying in this country. I’m sure you all think I’m completely insane for staying in a place that pulls all these shenanigans…

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Crowdfunding in Japan?

By Haruna | Published July 19, 2013

I honestly didn’t think it existed either, but it does. Developers behind MONKEN found 201 rather generous patrons, mostly giving ~$100 USD each. The crowd funding site used is called Campfire. It looks and operates a lot like Kickstarter, only taking whopping 20% of the collected funds. Ouch! Funding is also “all or nothing” like Kickstarter.

MONKEN is a rather strange game. I first heard about it over at Bit Summit in Kyoto. Seriously. A game where you play a wrecking ball in order to free hostages based on an event in Japanese history! MONKEN means wrecking ball and watching the hostage crisis unfold on TV left a huge, maybe spherical impression on concept creator Fumio Kurozawa.

Go forth and read about it. I know too little on the subject to do more than just ramble away.

Posted in Japan, Reading | Leave a comment

Want a game development job in the USA? Do this instead.

By Haruna | Published July 18, 2013

Make games. If you want to make more than just some little smart phone time sink, get a PC game with good content creation tools and make a content mod, like Falskaar. What is Falskaar? 19 year old Alexander J. Velicky’s 2000 hour labor of love and 25 hours worth of new content. He wanted to become a game designer and rather than go to a game design school, his father graciously gave him a year to devote himself to making this massive new space to explore.

Alexander J. Velicky is miles ahead of any other teenager that wants to get a job making video games. He directed voice actors. He commissioned an original soundtrack for his mod. He even got people to extensively play test it for him.

The important thing here is that he aimed for industry standard level content creation and from what I’ve played so far, achieved it. A remarkable feat for someone with no industry experience!

Making games be it on paper, cards, or a mod to an existing is the most important thing to getting a game industry job in the West. Modding will hardly hurt your chances in Japan, but Western companies are far more likely to grasp the value of modding. I’ll update this entry if there’s any news on Velicky’s career successes or failures. But let this be a lesson: going out and doing is more important than sitting around hoping to learn it.

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So, you want to be a game developer in Japan? Part IV

By Haruna | Published July 16, 2013

I’ve only interviewed for game design positions so I can’t comment on artist, programming or sound specific interview questions but a lot of questions have me re-stating a lot of what I put on my paperwork, especially my cover letter and what what my career goals are.

Don’t be afraid to ask interviewers to rephrase questions if you don’t understand them.

General questions:

志望動機: Why are you applying? Think about this for every company you interview at. How do your career goals and talents align with that of the company’s? Saying you’re going to be the greatest JRPG designer at Hideo Kojima Productions might not fly.
Introduce yourself. Sure, the interviewers have most likely read your paperwork but they want to hear you say it for yourself. Also when you have to say it, the interviewers pick up on what you emphasize the most. Don’t just recite your resume.
What are your hobbies and interests outside of work?
長所と短所. One could say this is “strengths and weaknesses” but it translates more closely to “what are you proud of, what do you want to improve?” which, IMO, is a more beneficial angle to look at things from an interviewee’s perspective.
Where else are you applying? It’s not uncommon for companies to ask you where else you’re applying to and be ranked as far as your favorite choices go. Companies have sped up their decision making process when I said I’m expecting to hear back from other perspective employers around a given date. It’s hard to say what effect ranking a company below 1st has if any, as none of the companies I’ve had to rank hired me, even though I put them as my first choice. And no I wouldn’t pinpoint “they knew you were lying, you rat!” as the reason I didn’t get hired. I can think of plenty of other torpedoes I sent into my own hull.
Are you ready to work hard? It’s no secret to the internet that Japanese hours can be crazy. This question seems to come up more often for foreigners than not, but a handful of my JP friends have been asked this. Especially by a certain employer in my history that’s notorious within Japan for absurd hours.
Do you have any questions for us? Think of something before the interview other than “when can I expect to hear back from you?” Use this opportunity to become the interviewer and get a feel for the company. Interviews are two way streets; they’re good chances for you to see if your interviewer is where you want to go or whether or not you need to send out some more resumes.

Game Designer questions:

Have you played our games? If so, how would you improve them? This one comes up with Free to Play companies right from the get go.
What types of games do you like and why?
What’s your favorite game any why?
What areas of game design do you think you’re skilled at?
If you were a director, what game would you want to make?

Foreigner questions:

Why Japan? Many JP companies are afraid you’ll run back to the your home country shortly after being hired. I won’t lie, homesickness was an issue for me and many others.
What’s it like where you’re from?
How did you learn Japanese?

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So, you want to be a game developer in Japan? Part III

By Haruna | Published July 11, 2013

So you’ve submitted your paperwork and now your perspective employer is no doubt going through the process of 書類選考. Should you pass, prepare for a series of interviews. The most common procedure is 2 interviews. The first interview is with potential direct supervisors and other co-workers. Some places may require you to take an entrance exam before or after the interviews. The second interview, should you get it, is the 役者 interview, or upper management. If you’ve made it to a 役者面接 then you’ve pretty much got the job and this interview is more about salary negotiations than picking your brain about your skills or experience. If you’re not currently located in Japan, you could squeeze a regular and management interview within a few days of each other.

Before the interview:

Do your homework on your interviewer. Play their most recent games. You really have no excuse not to do this, especially if you’re interviewing for Free to Play game studio. Be ready to talk about what you liked and what you think you would improve, especially when it comes to increasing appeal for Western audiences.
Get groomed. Japanese interviewers can be especially harsh when it comes to judging people by appearances. If you are a recent graduate applying for your first job, wear a suit to your interview. 　Japan has a standard “recruit suit” that applicants wear when looking for jobs. If you have a suit in good condition already, use what you have. If you need a new suit and you’re in Japan, off to Aoki!
Pay attention to any instructions from your interviewer.
Think about some answers to boiler plate questions. Do not memorize any answer more than a sentence or two. People who tend to try and memorize something tend to slip up if they miss a word or 2 when trying to recall the answer.
Know how to get to the interview site. Japan doesn’t have street names. Ask for precise directions from the nearest train station convenient to you. Google earth street view wouldn’t be a bad idea either.

As you can see, a lot of interview prep is universal; while you should be prepared, don’t freak out!

Next up, interview questions.

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So, you want to be a game developer in Japan? Part II

By Haruna | Published July 2, 2013

The long awaited part II finally arrives! Small warning: working in Japan provides little-if any-free time to do things like blogging and what have you. Time to list up all the paperwork and what have you that you will need prepare in order to apply for a job in Japan:

履歴書 or Rirekisho. This is a really basic summary of companies you worked at, schools attended and any certificates you hold. 　This site has a fairly straightforward web form you can use to make yours. Start with your oldest experience first. This goes against the Western grain of newest first. You must include a photo of yourself on the 履歴書. Make sure it’s a good one!
職務経歴書 aka your Resume/CV. Again, oldest experience first. List individual projects, your specific duties in each project and duration of the project at minimum.
応募作品　or Portfolio. Just about every job application will require a work sample/portfolio of sorts. Artists and game designers, prepare to print yours. Companies prefer paper for security and privacy protection as papers can be shredded or returned. It makes it more difficult to prove that a company has stolen or illicitly distributed your information if the one copy they saw they got rid of.

A few things to remember when creating your portfolio:

Pay attention to any requirements or instructions posted in the job listing.
Write as much as you can in Japanese.
Artists: lots of Japanese companies like to see デッサン　or life drawing. When hiring junior artists, some companies will take a traditional artist and train them in 3D.
Programmers: Prepare to burn your work to CD or DVD. Be sure to make note of any resources you use that you didn’t create yourself.
Planners: You have the most work cut out for you with your portfolio. Most companies will ask for 企画書 or product proposals. These need to really play your strengths as a game designer and show you understand the company’s direction. For example, you wouldn’t give Platinum Games a proposal for a visual novel or Nippon Ichi Software a proposal for an FPS death match game. Pay attention to page counts, quantity of proposals and your Japanese. Given that communication is key, submitting Japanese language materials is of utmost importance.

Once you have all this together, place it in an envelope with the name and address of the company you’re applying to and off you go!

Next up, the interview…

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So, you want to be a game developer in Japan?

By Haruna | Published February 12, 2013

As someone who has managed to achieve that seemingly distant goal, I’ve been asked how I did it more than a few times. I’ve had some time to think about my path and write down what I consider to be the most import bits of advice.

Before you start

How good is your Japanese? First year Japanese is more than sufficient for a programmer and adequate for an artist. Game designers require near fluency. Even if you want to become a game producer/director, consider becoming an artist or programmer, as those paths tend to get to game design leads faster. Most of Japan’s top creators got their starts in the other aforementioned career tracks:

Keiji Inafune: Art
Atsushi Inaba: Programming
Keiichiro Toyama: Art
Shigeru Miyamoto: Art
Eiji Aonuma: Art
Daisuke Amaya: Programming
Yuji Naka: Programming
Tomohiro Nishikado: Mechanical Engineering
Gumpei Yokoi: Mechanical Engineering
Yu Suzuki: Programming

Not to say that a career as a planner(what the Japanese refer to game designers as) is a dead end job, but art leads to more management opportunities and as a programmer, being able to make your own prototypes makes communicating the fun of your idea infinitely easier than a written proposal. Especially a proposal written in your non-native language.

Come to Japan. Live here a while. If you get a work visa through another job, that’s a major positive. Being able to interview at a potential employer in person is a huge plus. A lot of Japanese companies fear that foreign employees will leave within a year of employment. If you’ve been in Japan a while, that would prove you’re capable of living in Japan and assimilating into the culture. It’s also a lot easier to learn the language when you use it every day.

Gain development experience outside of Japan. In my experience, even the most broken of Western companies tend to have their stuff together more than the above average Japanese companies. While I think there are a few Japanese development practices that are superior to their Western counterparts, I find the majority to be the other way around. Especially for programmers. I highly doubt you’ll ever learn good team coding skills, data driven development or even good commenting practices at a Japanese company. Having valuable experience can help make up for Japanese language skills too.

Get a degree? I’ve heard that this is a requirement for getting a work visa recently. I already have one so I never encountered any issues. Having a bachelors from a university will get you in a higher pay grade than an AA from a vocational school. From what I’ve seen of JP vocational schools, I can understand the reason for the pay gap. Every one I’ve seen, even the so-called good ones, are absolute crap for programming, though there are a some good ones for art. If you have a bachelors and killer portfolio from a good Western game-centric school, you should be OK. There are some people who just didn’t like school, built killer portfolios and built up skills all on their own and to you, I salute you. It would be a shame if you’re kept out of the industry, while a nitwit with a degree in boring people to death gets in.

Get a printable portfolio. Printable. A lot of companies require you to snail mail in applications. Programmers are usually allowed to mail in CD-ROMs, but who even has a CD burner these days? Borrow one from a friend, you’re going to Rome, do as the Romans do.

That’s it for all, I plan to cover the application process in another post. Thank you for reading.

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