With few exceptions, the open-world game has largely been the preserve of Western studios – those with deep enough pockets to fund the development of large-scale sandboxes, rich in scope and detail alike. But with publisher NetEase evidently prepared to splash the cash, Hangzhou-based Everstone is plotting to put China at the very heart of the genre with the forthcoming Where Winds Meet.
How EA is tapping into the power of generative AI to accelerate the creative process
11.12.2023 - 22:35 / venturebeat.com / Ai
This year GamesBeat was part of the 2023 Game Awards in L.A., as part of a mini GB event, “Pixels to Pop Culture,” exploring the intersection of game industry creatives, Hollywood and a growing audience’s hunger for new IP.
Jeff Skelton, head of technology partnerships at Electronic Arts joined Meg Tucker, director of games at Google Cloud, to talk about today’s challenges in creating immersive content in a crowded market, and how new technology and tools are unlocking opportunities to really deliver.
“Every game in a genre has to be bigger than the game that came out before it in that genre,” Skelton says. That means literally: the file size of an average texture in a game today is larger than the memory of the original PlayStation. Games are commonly 150 gigabytes-plus, even before the DLC. The sheer size and amount of content required has multiplied, but the number of industry creatives hasn’t — which demands new technology and processes to allow game creatives to manage it all, and do it well.
“It’s allowing them to do it quickly and with high quality, allowing them to be able to express their intentions without roadblocks getting in their way,” he adds. “Sometimes they have a very quick turnaround. They don’t want to be super under the gun doing a bunch of boilerplate or stuff that isn’t actually doing the creative things that we want creators to be doing. It starts with the tooling, allowing that to happen more fluidly than it used to.”
That includes everything from the data and analytics within a game that allows developers to keep track of player activity and game performance, to the advances in generative AI that allow one-to-one personalization.
The central goal of adopting AI tools, both generative and predictive, is to allow artists to be more efficient and more productive in what they do as creators by eliminating the roadblocks in their workflows, Skelton says. They might have three days to figure out an urgent patch, but they’re also waiting a day and a half for a pipeline to run and process data as they work, for instance.
“Anything we can do to reduce all that time and allow the artists to do what they want to be doing, which is doing inspired work that can only come out of their heads — it’s not coming out of generative AI,” he explains. “We see all of our tooling as human-centered and human-directed tooling. It’s being controlled by the creators that want the output from it. They have very fine control over what parameters go into it, what they want and they can iterate on that.”
In other words, these tools are a productivity multiplier that accelerates the creative process, and the end result, when artists have more time and space to create, means higher-quality work, and faster.
For
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