GDC is coming up, and we are SO EXCITED!!! The funomenauts are going to be out in full force - giving talks, leading workshops, and even looking for some new funomenauts! Here's where you'll be able to find us throughout the week: 

Game Design Workshop


The GDW has been in session at GDC for over a decade! Hosted by a mix of seasoned designers from all walks of game development, this hands-on, paper protoyping workshop involves learning and applying the MDA framework of game design. 

"This intensive two-day workshop will explore the day-to-day craft of game design through hands-on activities, group discussion, analysis and critique. Attendees will immerse themselves in the iterative process of refining a game design and discover design concepts that will help them think more clearly about their designs and make better games”

Deliberately Developmental Leadership


Want to learn more about how we do things at Funomena? In this talk, our CEO Robin Hunicke will talk about how we have adopted principles of the Deliberately Developmental Organization, and why. 

"Founding a game studio is just the first step in a long line of decisions that will determine the quality and success of your games, company culture and work experience as a whole. This talk will introduce the core principals of the DDO: Deliberately Developmental Organization, as outlined in several Harvard Business Review articles - which include letting each person outline their own developmental goals, and working from a place of transparency with respect to individual and group challenges as an organization in the areas of communication, collaboration, coaching and receiving feedback." 

Robin will also be in panels that discuss best practices in Production (So You Want To Be A Producer - THURSDAY, 5:30PM-6:30PM, CAREER CENTER THEATER) and working with experimental technologies (Making RealSense: A Conversation with Independent Developers - WEDNESDAY, 9:30AM-10:30AM, ROOM 301 SOUTH HALL ) 

The Experimental Gameplay Workshop


And, to end your week with a bang, we have the spectacular EGW showcase, which has been in session at GDC for over 10 years now! Focused on a rapid-fire demonstration of the best of this year's experimental game prototypes, the session is always packed. This year's session is especially cool because it includes time for audience members to try the games we're showing on stage! You can read a bit about last year's session, and then check out a preview of this year's session

"The Experimental Gameplay Session, which debuted games like Katamari, Damacy, flOw, Braid, Portal and Storyteller, is back for its 13th year at GDC! In this fast-paced, game-packed session we will showcase a selection of surprising and intriguing prototypes made by innovation-minded game developers from all over the world. By demonstrating games that defy conventions and traditions in search for of new genres and ideas, this session aims to ignite the imagination of all game makers. Come see what's happening on in the world of Experimental Gameplay - and be inspired!"

Most importantly, the Funomenauts will be out and about, talking with fellow developers about the state of the art in our industry, hearing about new and exciting projects under development, and giving much-needed hugs and back-pats to those who have recently shipped their amazing games! Celebrating with our fellow developers is why GDC is our favorite time of year - and we really hope to see you there!


DICE 2015

This year our CEO returned to DICE to talk about the future of VR, AR and "mixed reality" technologies. In this fireside chat with Technical Illusions co-founder Jeri Ellsworth, Robin focused on what the future holds for games, entertainment and education when it comes to enhanced reality platforms. She also wore her amazing panda jacket... and had some pretty sweet slides :D

According to Jeri, the future is looking awesome - and it's happening right now! Tune in and check it out.

Keep Games Weird


This is Vikram - one of the engineers at Funomena. I work on Wattam and this is actually the first commercial game project that I've worked on. Before this I was a software engineer in test at Google and at Microsoft before that.

When I signed up for writing a blog post, quite a while back, I had to pick a title. I knew I wanted to write about something light. I chose "Keep Games Weird" since I like playing weird little video games - it's the weird ones that excite me the most, and hence I feel are the most rewarding to play in the little time I have in my life these days. But since then I've been thinking about the word "weird", its different meanings and why all of them are good for games. (I actually also thought of different meanings for "Keep" and "Games" too but I am just going to stick to "Weird" for now.)

The first meaning is what most people think when they hear weird - something that's strange, bizarre and maybe also unexpected. Games are capable of moving people in different ways through their form and substance. We have just started exploring different ways of doing this. As a game creator, there's just too much ground to cover to make something only slightly different from what has been done before. As a player your time is too precious to be spent on the same kind of game over and over again. Though we can agree on this in principle, we sometimes forget it and settle into the comfort of the known. That's when a weird game comes along and hits you in such a profound way as to remind you of the real power of games. I think we are actually not doing too bad here and there have been so many "weird" games that have come out in the past year that have personally moved me. The part we can probably do better in the "keep"-ing part is to talk about these games more and provide a platform for more of these games to be made.

The next meaning is more related to the original phrase - "Keep Austin Weird". It's a marketing slogan that has grown well beyond its original purpose into a progressive idea of a culture that accepts people from all different backgrounds - LGBT, intellectuals, naturalists and various non-mainstream subcultures. Applying this idea to games, I think this kind of diversity in creators, themes, players and critics is hugely important right now as it expands from games just serving a small group of people (even though it might not seem so small to many who are already in that group). Personally I have been extremely lucky and privileged to find the right people who accepted me into the game making community and I feel its important for me to help bring more people into the fold. In the wake of unfortunate events in the past year I will just mention one of the efforts to support diversity in games - We need to do a lot more here.

Lastly I would like to reflect on something I found in Urban Dictionary (it's all solid sources I'm using here) while researching weird - "Weird (but in a good way)". More specifically the phrase "they're not scared to be themselves". Ultimately being weird is not about just standing out but being true to yourself. And so we make games that we love to make - and they are weird.


P.S After choosing the title I found that there is already an essay titled "Keep Games Weird" by Charles Pratt about the New Arcade Movement and No Quarters Exhibition. Please read it here.



Vikram Subramanian, Software Engineer


Diversity Matters

At CES earlier this month, I participated in a panel discussion moderated by Intel Chief Diversity Officer Rosalind Hudnell. Focusing on Intel's recently announced $300 million investment in diversity, the panel included Intel's CEO Brian Krzanich, broadcast journalist Soledad O’Brien, and Laura Weidman Powers, CEO of CODE 2040, a SF-based nonprofit working to open doors for black and Latino engineers in Silicon Valley. 


The gist of the panel was that diversity is something we need leadership on within the valley and in tech in general. It isn't just something that we *should* do... it's what makes sense for business, overall. 

Whenever anyone asks me about diversity and changing the ratio - I use the following analogy - from my friend and longtime mentor Hiroko Osaka, who I met while taking classes at Kellogg back in graduate school. She points out that there are international companies... and global companies. An international company may have offices in Shanghai, Dubai, Los Angeles, London… But a global company has people from all these places at all levels and locations within its organization. Diversity is about becoming truly global in our approach to what we do.

Widening the conversation to include fresh perspectives will improve our processes, our products and ultimately our bottom line. It’s just the smart thing to do. Google’s push to unearth unconscious bias in their hiring, retention and mentoring programs has received national attention. As has their Made with Code initiative, which I am proud to be a mentor for. By making diversity a top-line goal, devoting resources to it, and been relatively open about how and why this is essential to their future success, these companies pave the way for a more balanced, inclusive future. Funomena is proud to be working on these initiatives, and to continue to broaden the conversation so that we push for lasting, positive change.

But it does take hard work! As I also point out in the panel, games are a creative business. And game developers make games because we love them! We will often agree to work on short deadlines and tight budgets to have the privilege of pursuing our passion… which means we sometimes put less time and energy into thinking through the hidden biases in our hiring, retention and mentoring processes (if we have time to think about them at all).  To make positive change, we need to make balance & diversity a priority, and pay attention to the details. This means: 

  • Casting a wider net:  Reach out to unexpected places for new candidates, instead of just leaning on colleagues or friends of friends.

  • Broadening our sense of “fit”: Think about the people you hire in terms of all they bring to the table. Prioritize variety in creative tastes, hobbies, personal background and work experience.

  • Testing & tuning: Leave more time to onboard and mentor new voices. Listen when they give feedback, and tune based to what you see. Design your business like you would design a game - for optimal performance AND enjoyment! :D

At Funomena, even though we are small and bootstrapping - we take the time to have an open, ongoing discussion about diversity. We work to make it a priority even though it may mean we grow more slowly. We gather feedback from our employees, and iterate on our internal processes. Why? Because we believe the effort is worth it - and that we will make better, more creative, more broadly appealing games as a result!


Vert Pushing - An Introduction to 3D Animation for Games

Bringing characters and objects to life is the main task of an animator, but the process of breathing life into a pile of pixels and verts involves many facets that span the gap between art and code.

It all starts with a spark; the inspiration or idea for a new character, creature, or … well anything really. After that spark the idea needs to be made tangible in the form of a concept before being modeled and textured. In order to make the job of a rigger easier modelers build characters into a neutral pose (T-pose), which allows for better deformation in areas like the shoulder, hip, elbows, and knees. Once that is complete it is ready for the rigger to get their hands dirty.

(Here is a simple model of a cartoony eyeball I made. No specific concept was used in this case. Instead of a T-pose I modeled the eyelids in a fairly neutral resting state to allow for better deformation.)

While not all animators do their own rigging, it is the keystone to any good animation. Without a rig a character is just a sack of polygons with lots of potential. The process of rigging starts by building a character's joints, i.e bones. Having good references for anatomy is always helpful when placing joints. The human body is a complex machine driven by 206 bones, 360 joints, 640 muscles, and miles of veins and arteries. Game characters are hollow shells of polygonal geometry driven by 1-200 strategically placed joints that are meticulously skinned to the model's vertices. The process of skinning, or weight-painting, involves defining the region of the mesh that a given joint can influence and determines how a model will deform. The rigging artist's job isn’t done after just creating the joints though.

(Placing joints and painting weights require thoughtful planning of the desired look, and a basic understanding of anatomy. I knew I needed the eye to be able to blink and look around. I also added a few joints to the brow and cheek to help the eye emote.)

After the joints have been placed and skinned to the mesh, the rigger now creates a set of animation controls that the animator can use to start bringing life to the character. Control rigs can be thought of as the strings on a puppet. The rigger will define how a control object drives a joint and the animator can then manipulate the control, which drives the joint, which drives the mesh. A good control rig gives an animator a lot of control over the character and allows for highly expressive animations.

(Here you can see that the red control object is driving the movement of the eye joint which has been bound to the mesh. Moving the control object results in movement of the eye. I then set up more advanced controls so that the eyelid joints move slightly with the eye as it rotates to create a lens “pushing” effect, and mapped the blink to the scale of the yellow control object.)

Now the animation can begin! The actual process of animation for games comes in many forms, but starts from a simple set of steps. Using the control rig to pose the character and start setting keyframes is the first step of the actual animation process. Keyframes are the core of an animation, they are the defining poses that determine the timing and spacing or a movement. After creating a pose and setting a keyframe the process repeats, always keeping in mind the frame before and the next pose you want to make. Game characters require full movesets of animations that are composed of hundreds of individual animations that can be played based on player input or context. From creating looping walk cycles, object interactions, or full cinematic sequences, the process of animating doesn’t change much. Game animators have to be adaptable and always keep the games design in mind. A character who is running through a field in a dream world would probably not run the same as the character escaping a burning building. Game animations are also heavily reusable by nature and must be made to not look bad when seen thousands of times. To break up some of the monotony of heavily reused animations, additive animations and animation layers can be a saving grace. There are many different styles and approaches to animation, but it is always important to keep the basic principles in mind. (I’ll go into the principles of animation another time)

(After setting some keys on the animation controls we can start to see the model come to life.)

After a character has been created and animated the skeletal mesh (the mesh and its skinned joints) and animations (the joints with the animation data baked into them) are imported into the game engine. As is the case with many aspects of game development, the animation pipeline is always changing and improving. Animators are being given more and more control, and thus, more and more responsibility. One major improvement to the animation pipeline in most modern engines (Unity 3D, UE4, UDK, CryEngine) are state machines. State machines are logic trees  that store animation states, and operate based on input to cause a change. Animators and programmers work together to set up logic connections inside of the state machine to define how animations will play based on user input using a set of parameters. State machines can get quite complex, but are a fast and efficient way to visualize the amount of information needed to make your character run, jump, swim, and crawl.

(Example of a simple State Machine from Unity’s Documentation. )

Animation is an important aspect of modern games, and is an area that has seen large improvements in recent years. It is an exciting area of game development that always offers a fresh challenge and fun solutions to a number of problems.

Ryan Mohler, Animator

Ryan Mohler, Animator