Dragon Age Toolset: Builder Event II, p1

July 9, 2009 by BioWare

beii4
Part 1 of 3, by Jay Watamaniuk

We have a few guests here at BioWare HQ this week.

beii1Some had worked with each other for years and yet this was this first time they had a chance to meet in the person. Some were from Edmonton, some came from further away like Toronto and California. Some traveled even further to be here from Germany, Scotland and even Denmark. All of them are very talented and very dedicated builders or modders who all had created some of the best content for fans of Neverwinter Nights and Neverwinter Nights 2 to enjoy. We wanted them to get some hands-on time with the Dragon Age Toolset and learn the tricks directly from BioWare developers.

Everyone, apart from an unfortunate Scotsman who encountered weather delays and mechanical trouble, managed to arrive the night before for dinner and discussion. The Scotsmen did arrive Wednesday morning free from the burden of proper night’s sleep but on time and ready to go.IMG_3218

Lead Designer Mike Laidlaw kicked things off with a short demonstration of Dragon Age and introduced the vision and basic themes of what the team was trying to capture and explore. The group saw a beta of the planned website features being built to help builders start and organize projects locate the right team members and show off the content they create.

Technical Designers David Sims and Joshua Stiksma were tasked with an introduction and overview of the toolset, creating simple plots, scripts, and dialogue. The final lesson of the day was a look at combat and abilities by Technical Designer Grant MacKay.

And that’s only Day 1 of 3.

The Dragon on Tour: Part 2

July 6, 2009 by BioWare

brucetour2
Part 1 of 1 (maybe), by Bruce Venne
BioWare took Dragon Age on the road across this fine planet of ours and our very own intrepid Bruce Venne was along for the ride:

Brucetour1

Things I learned on the Dragon Age Press Tour

• Penthouse has a video game column
• Some restaurants in Madrid do not even open until 10 pm
Brutal Legend and Dante’s Inferno keep on looking more awesome every time I see them
• All taxis should be Mercedes Benzes
• If the lights in your hotel room do not turn on, try inserting your room keycard into a slot near the door
• Avoid Luton Airport
• You will encounter at least one rude cab driver in France. Every other person you meet in France will be very nice
• Karma can be earned during airplane flights
• When your flight is delayed the flight attendant will ask that passengers allow those with connecting flights to disembark first. If ten passengers say they have connecting flights, thirty people will stand up to leave when the plane lands

More pics

Bruce Venne got a job in the BioWare QA department after spending two week sitting on a crate in James Ohlen’s office playing Knights of the Old Republic. Afterwards, Bruce got his own desk, in the hallway of the old Whyte Ave office, to test the NWN expansion packs. He now applies his English degree and Library Technicians diploma to design testing on Dragon Age, and filing monthly reports to HR about the behavior of the Marketing department during press tours.

The Dragon on Tour

July 3, 2009 by BioWare

rictour
Part 1 of 1, by Ric Williams

_MG_1156A few bits from the road…

BioWare General Manager and CEO, Ray Muzyka and Dragon Age Executive Producer, Mark Darrah hit the road June 25 to a few stops in North America to follow up from the E3 demo. They wanted to give some more hands on time to press with the 360 version of the game and show off more of the tremendous depth of Dragon Age.

“Feedback from the North American leg of the tour was very positive with both broad consumer media and games press digging the demo.” Director of Marketing, Ric Williams gives us a quick look at how it went:

“BioWare’s VP Development Operations, Greg Zeschuk, Mark Darrah and I are on the plane to Madrid where we kick off the European leg of the trip. Spain, Germany, UK, Poland and France are all on the itinerary. _MG_1048It has been tight but we have managed to lock in a great demo with all the technical needs that comes with PC demo’s, big shout out to the EU folks for getting us everything we need.”

“Spain, Germany and UK events went very well. Greg Zeschuk and Mark Darrah have had very full days with interviews and game demos. Watch out for coverage to hit on July 8th.”

Pics here

Ric Williams is BioWare’s Director of Marketing and thus has his hands full driving the crazy train of Dragon Age: Origins and Mass Effect 2 as they both near completion. He is Australian and often gets hassled for his funny accent as is right and just.

Love Me, Love My Dog

July 2, 2009 by BioWare

A Day in the Life of a Senior Designer

June 25, 2009 by BioWare

feltham6
Super Huge Part 1 of 1, by David Feltham

8.35am Kids were good this morning and I’m arriving at a decent point. I’ll be able to test my level and get the Lead Designer (Preston) and Lead Level Designer (Dusty) to play it and give me feedback so I can incorporate it before Thursday’s review
8.45am Brazilian Priscila in the French Press. Fantastic coffee.
8.46am Ivan, one of the QA for our scrum, has tendinitis and has his entire left hand in a splint! Oh noes!
8.50am Looks like my build failed: Yesterday I got a 3-red ring on my devkit and had to get a new one: forgot to update the IP address on my auto update. Time to cook over the opening level so I can work!
8.55am Time to drink some coffee and peruse my iGoogle. Yesterday not much happened. Perhaps there’s some new articles up now.

9.01am Oh Fail Blog. How you amuse me.
9.15am Can’t get The Depression Suite by Tragically Hip out of my head. Time to find something to listen to on my Zune…maybe some Opeth.
9.17am Can’t. Stop. Listening. To this album: Tragically Hip: We Are the Same.
9.22am Reading HR emails. Reading an email about our E3 build.
9.40am Just got into a long discussion about the wins and fails of X-men Origins: Wolverine: Uncaged, the game. I’ve finished the game and I’m right now inches away from getting 2 major achievements. Even though I don’t want to play anymore, I keep playing. The gamerscore is too luring!
9.43am Time for Design Standup. This is where all designers on Mass Effect (44!) meet with Preston in one giant meeting. Preston goes around the table (twice, now that we’re big) and each designer says what level they’re working on that day. It gives Preston, who’s wrapped up in the high-level of the game and in meetings, an idea what people are working on, and gives him the opportunity to comment on things that need to be commented on. It helps Cinematic Designers know if their Level Designer is available to them, and lets the entire group know what levels are being reviewed in what is called a Daily. It also allows me to make fun of anyone wearing the same Jade Empire, Mass Effect or Dragon Age shirts.

me2sample10.00am Kris tells me a story about the Art Director (Derek Watts) and one of the designers talking about the need for cover in the middle of a walkway. While it gives the player cover, it doesn’t make much sense to the environment. So Derek, as a joke, grabs a garbage can, places it in the middle of the room and says ‘Look at me! I’m a designer putting placeables in the level!’ HAHAHA. It definitely is a balance between the two: great gameplay but in a world that makes sense.
10.10am Just finished my playthrough (my cook finished while I was in the Design Standup) and everything looks good (enough) for review by the Leads. I say ‘enough’ because I have another 2 sprints to do get my level almost completed…and I’m never satisfied with my work. But I have a working, fun level that has everything that needs to be in there for Level Review. Time to IM the bosses.
10.13am Sent
10.15am Scrum standup. This is where our Scrum, or dogpile, gets together with our producer (Nathan Plewes) and any floater writers or cinematic designers that are working on our dogpile’s levels that day, and we do a quick round where everyone says what they’re working on, what they worked on yesterday and any major issues that might need to be resolved with the help of Nathan.
10.30am Finished Scrum standup which lengthened into a conversation about what’s left on our levels for the rest of the game. We seem to be doing pretty good!
10.42am New cup of coffee and I’m reading an interview with Mike Laidlaw, Lead Designer on Dragon Age and a good good friend.
10.43am Just got an IM from Preston, our Lead Designer, that he’ll be here in 10 to play [Rescinded]. Huzzah!
10.47am Cleaning up pathnodes and rebuilding paths. Then I’ll do a last minute visual pass to make sure my henchmen and enemies can maneuver.
10.49am Just got an IM from Rohan Knuckey, the Level Artist for [Rescinded] the level I’m working on, that he has some geometry updates for me. I’ll update those right after my playthru with the bosses.
10.49am So do I get nervous about these playthroughs? Not really: I’m not the get nervous kind of guy. I am anxious and hoping that they like what they’ve done, and that it won’t break during their playthrough. But honestly anything they have to say about what needs to be done, especially on this very important level, is stuff that needs to be done: Dusty and Preston have you, the player, in mind with all of their feedback. If they say it won’t be fun, or doesn’t flow nice, then that’s something I need to address. Besides, I still have many weeks left on the project and I’d be a fool into thinking that this is the last iteration of this level.
10.57am Really digging the new Prodigy.

mesample211.11am a quick playthrough by Preston and its hard to say what he’s thinking: he found some bugs which I’m going to fix right now, but he didn’t say yay or nay. Experience says that he’s got something of higher issue on his mind and that the level met his expectations. The stage that my level is in, Orange, can be a very ambiguos stage: it doesn’t have the spit and polished of a Hardened Level, and it isn’t the rough level full of promise that is a Narrative Playable or Whitebox.
11.13am Time to fix some bugs.
11.19am And updating to new art.
11.19am And new doors! Huzzah! And holy god does the level look amazing. Some of the updates in lighting and textures have just brought so much life and atmosphere to the level.
11.50am Fixed some bugs that Preston found (list them)

12.10pm Heading out to the local grocery store to get lunch. Let’s hope its not too hot outside, I wore combat boots and black jeans
12.35pm Holy crap its hot outside! Bad day to wear combat boots and black jeans. Going to read some online articles while I eat. Another lunch at the desk.
1pm Lunch complete. Achievement unlocked.

1.17pm Desperate for another coffee, but the impending heartburn says to wait. And wait I shall. Onto bugs!
1.24pm Time to learn about action stations: these will be the first I’ve put in our game.
1.48pm Learn something new every day: Found out about our tools to set animations on pawns, and seeing as how I’m setting up [rescinded], this will be great!

2.45pm Just came from a meeting about Skeletal Meshes and You. Learned many things today, but sadly was starting to fall asleep. Need more sleep. Badly. These Skeletal Meshes allow us to place down low-detail pawns in the level to help flesh out the world. Like Dead Bodies.
2.55pmFeel like some Jeff Buckley, Last Goodbye. Time to start tweaking the last battle in [rescinded]. Need to make it a nice cap on everything that has happened in the level so far.

3.04pm Well…that put me in a mood. Time for some Tool.
3.19pm Taking a section of my level and pimping the shit out of it with the new Skeletal Meshes, Visual FX and Level Events, like animations in the background, so the level Artist and the bigwigs can get an idea of where I’m going with the ambience.

4.00pmGot some interesting stuff. Just put in the new doors and they look snazzy.
4.20pm Had a discussion with Dusty and Shawn Potter (combat programmer) on creating a new kismet object to tighten up my level scripting. Think its a go. Should see it in a few days.
4.47pm Just wrapping up some last minute scripting so I can do a last minute playthrough to ensure my level is fine for tomorrow’s build. A build is a compile of content and code done daily to ensure everyone is up to date with the latest verified code and the latest content. It automatically happens on everyone’s computer every night.
4.54pm Waiting on the cook.

5.06pm Oops. Forgot to set a pawn to ambient. recook
5.20pm Playthrough works. Found some bugs that I’ll address tomorrow: level is playable for the morning and for the level review tomorrow. Thank-you and goodnight.

Banner image taken from Steampunk Lab

Dave Feltham, who hails from Toronto, is a Senior Designer on Mass Effect 2. He doesn’t like to think about the number of days multiplied by the 9 years he has in the game industry, never mind the 3 before that in the TV industry. He has done broadcast design work for many major TV networks and has released games for the launch of every new-generation console since Microsoft’s Xbox. He giddily walked through BioWare’s doors 2 years ago and still can’t believe he works here. He likes coffee. A lot. He’s drinking one right now.

The Long Road to BioWare: A Designer’s Origin Story, p4

June 23, 2009 by BioWare

feltham4
Part 4 of 4, by David Feltham
In this article Dave discusses what a Level Designer does and how Level Designers work on Mass Effect 2.

On Mass Effect 2 we divide all Level Designers into groups of around 3: 2 Level Designers and 1 Senior. Each of these groups is called a Scrum or dogpile and each dogpile has a puntastic name: Fighting Fish Dogs, War Beasts and us, the Hellhounds…Yeah I think we got the best name too. These dogpiles have one or two designated QA, usually one artist per Level Designer, and a writer and cinematic designer who float between dogpiles for best distribution.

As a Senior Designer, I am the Senior Level Designer in my group of Level Designers: I am the first line of defense and critique by being the first person who approves, disapproves, gives advice and direction on all levels our dog pile is responsible for. My day to day is the same work as the other Level Designers: I am responsible for 2 levels and, if need be, to jump in and help on any other level our dogpile is responsible for (this usually happens when someone is sick, over tasked or on vacation). And while the level designers in my dog pile report to me, and I am the person who gives their first stamp of approval, I report to Dusty Everman, the Level Design Lead for Mass Effect 2, who gives me my stamps and stars. It’s a great set-up: I get to learn new technical things about Unreal from the others in my group, and they get to learn more broad game design goals and tricks from me and my years doing this. The level approval process can advance without having to over task Dusty’s time, and while Dusty and I might not agree about everything (like any good couple, we compliment our personal preferences instead of duplicating them) he can rest assured that for each dogpile, he has someone keeping an eye on things.

It’s a complicated and in-depth process, made even more complicated by the fact that our industry is lacking in standards: new employees have to be re-trained with BioWare’s work flows. But when everything comes together… when the level art is finished, Cinematics have put in their cut scenes, cinematic design has all the conversations been acted and the combat is fully balanced and you watch someone else play the level (especially the Lead Designer) and they put the controller down (ie they didn’t throw it) and they give you a sly smile and say “Man. that was AWEsome.” That’s the shit, right there.

That is what a Level Designer does. We make people say Awesome.

But perhaps this description of what I do as a Sr. Designer doesn’t give you enough of an idea of what I do on a day-to-day basis. Read the final part in which I’ll give you a Twitter account of my day.

Dave Feltham, who hails from Toronto, is a Senior Designer on Mass Effect 2. He doesn’t like to think about the number of days multiplied by the 9 years he has in the game industry, never mind the 3 before that in the TV industry. He has done broadcast design work for many major TV networks and has released games for the launch of every new-generation console since Microsoft’s Xbox. He giddily walked through BioWare’s doors 2 years ago and still can’t believe he works here. He likes coffee. A lot. He’s drinking one right now.

The Long Road to BioWare: A Designer’s Origin Story, p3

June 22, 2009 by BioWare

feltham3
Part 3 of 4, by David Feltham

So what does a Sr. Designer on Mass Effect 2 do?

Well for one, I write blog articles while building AI paths or cooking to an Xbox Development Kit.

Before I tell you what I do, I have to start with a description of what a Level Designer does. A Level Designer determines the building blocks of an area of the game, is owner of the fun of the level, and is a funnel for all departments who bring their work into the game. We model the blueprints of the level, we script in events, we give XP and treasure, and we put in combat that is challenging enough that you find it rewarding to finish, but not so hard that you die a lot. If a level is great fun or not fun at all, that’s due to the Level Designer. Blame him or her.

A level at BioWare, and specifically on Mass Effect, starts with a writer’s rough overview for the plot. After everyone involved with the level (artist, Level Designer, cinematic designer, cutscene artist and writer) are in agreement with, on paper, what will happen on the level, the Level Designer takes that and begins to craft the level. Sometimes a sketch is made in the meeting, other times not. But the narrative playable, the 3D version of what was discussed in that writer’s overview, is the goal: show how the level looks, show me how the mission is paced, and show me where the conversation and combats happen. And if this is approved, then everything evolves from this.

At this point the Level Designer and artist collaborate while they work, segregated in the software but sitting close in the office for clear communication. They negotiate areas back and forth, and work with the writer to ensure plot fidelity. As some of you may know, Mass Effect uses the Unreal Engine. So while placing objects is pretty straight forward, a majority of our time is in Kismet, scripting logic for the levels or placing objects to make the battlefields even more fun. The Level Designer sets up events for the plot and spawn systems for combat, all in an area that is within performance. It sounds pretty straightforward, but it can get pretty complicated, especially when environmental events, plot and combat combine. The scenarios can go from the complexity of firing a more difficult combat if a certain conversation choice is made, and then changing the battlefield on the fly depending on how the player navigates to something as simple as having a door open after you reach a certain point in the level. My art background is thankful that Kismet is as straightforward as it is.

For every hour or two of scripting I put in, I play the level of the game on our development kits. Sometimes this is playing as if I were a player exploring the level for the first time, reading everything, making choices like a player who’s concerned for Shepard’s outcome. Other times its hitting X as fast as I can through conversations so I can concentrate on combat or even going straight to loads to right before a fight, bypassing large sections of the level. To someone on the outside it might seem ‘fun’ or initiate the response I usually get when asked what I do: “must be nice”. And don’t get me wrong, I do have one of the best jobs in the world. But testing the game is not the same as sitting down at home and playing Halo, or Mass Effect 1 for that matter. Playing an area I have scripted requires constant and repetitive testing of the logic, and sometimes this will mean playing the same area, over and over again in a row, to ensure that it doesn’t break, or that it works as intended. The more complicated or free-form the area, an area with lots of choice or variation, the more times I have to play. Sometimes I will play through the entire level, testing everything I’ve done for the day, only to find out that one simple line of logic is broken, requiring me to play that area over again.

Sometimes I’ll tinker with logic and object placement in between plays to tweak the fun factor, changing how and where enemies spawn and sometimes even changing what is spawned. It’s a back and forth process: back and forth between artist and Level Designer, Level Designer and writer, Level Designer and QA, QA and the focus testers. Rinse, wash, repeat.

Dave Feltham, who hails from Toronto, is a Senior Designer on Mass Effect 2. He doesn’t like to think about the number of days multiplied by the 9 years he has in the game industry, never mind the 3 before that in the TV industry. He has done broadcast design work for many major TV networks and has released games for the launch of every new-generation console since Microsoft’s Xbox. He giddily walked through BioWare’s doors 2 years ago and still can’t believe he works here. He likes coffee. A lot. He’s drinking one right now.

The Long Road to BioWare: A Designer’s Origin Story, p2

June 19, 2009 by BioWare

Untitled-1
Part 2 of 4, by David Feltham

In the last Article Dave recounted working in Toronto’s Television industry as a Broadcast Designer and how after 3 years he decided he needed to work in the Games Industry.

I immediately applied to BioWare as a 3D Artist and, because it was early in BioWare’s days, I actually had an e-mail and phone interview with Greg (he remembers none of this) who said that I needed to have a little more experience. Deflated I considered my options. In Toronto, they were next to none.

This is where more Networking and Determination came into play.

A friend of mine who worked at Autodesk (then Discreet) knew of a small game company working out of Toronto. He gave me the information and I dropped off my demo reel. I had a call 5 months later while working on an Alphabits commercial to come down for an interview. I got a tour of their small (14 people) office and found out that they were making a cartoon-based game for a big, big company I won’t name, and that big, big company I won’t name was doing something absolutely nuts: competing with the all-time champs of Sony, Sega and Nintendo.

Pseudo Interactive hired me as a 3D Artist and Animator a week later and we started working together in May 2000 on what was then Cartoon Mayhem. Cartoon Mayhem eventually became Cel Damage and was eventually picked up and published by EA on both Gamecube and Xbox, as a launch-title: I’m still proud of what we did on this game and still play it with my kids to this day (I also have the toys above my desk at work. How cool that the first game I work on got toys too!). We developed Cel Damage: Overdrive, a port but significantly improved game, to the PS2 in Europe only. Amongst several internal prototypes, I worked as a level and character artist, as well as an animator, on a Sega game that did not make it to publication, and the XNA Crash Demo of GDC 2004. I was promoted to Lead Artist for Full Auto for the Xbox 360 launch and Full Auto 2: Battlelines for the Playstation 3 launch.

In 2006 Pseudo, without a publisher for their upcoming prototypes, decided to do a significant reduction in money overhead and workforce and a fair amount of the senior staff were lost. Me included.
I always knew that Pseudo would be the stepping stone for something else, but to go out through a lay-off was devastating. I had 2 children and a wife on maternity leave to consider. But Toronto’s Entertainment industry was gasping for air and its game industry, which never fully took off, was hurting. My options were limited, unless I opened the doors to other places on the Continent.

And this is where Luck, Networking and Determination culminated.

A day after the lay-off I got a call from my old friend and former boss Kevin, who was then the Director of Design at BioWare. He wanted to know if I wanted to work for them: Edmonton had a lot of great things for families and no doubt my wife’s expertise would be a hot commodity. The thing was that the position wasn’t in Art, it was in Design: they were looking for experienced, game design-wise level artists to help them bridge the gap between level-art and level design.

And after flying out to Edmonton, having an interview, being offered a position and deciding that we thought that Edmonton was a decent place to bring up our kids, we moved up here where I eventually moved onto Mass Effect 2 to became a Sr. Designer.

What does that entail? Stay tuned for Part III.

Dave Feltham, who hails from Toronto, is a Senior Designer on Mass Effect 2. He doesn’t like to think about the number of days multiplied by the 9 years he has in the game industry, never mind the 3 before that in the TV industry. He has done broadcast design work for many major TV networks and has released games for the launch of every new-generation console since Microsoft’s Xbox. He giddily walked through BioWare’s doors 2 years ago and still can’t believe he works here. He likes coffee. A lot. He’s drinking one right now.

The Long Road to BioWare: A Designer’s Origin Story, p1

June 18, 2009 by BioWare

feltham1
Part 1 of 4, by David Feltham

I’d love to tell you that I worked hard on learning Unreal, made lots of maps, created a ton of Neverwinter Nights maps and modded the hell out of some engine. I’d love to tell you that it was this that helped me get a job in the industry and that if you keep it up you too will join us in the fray. But this isn’t the case. In fact, my ass in this seat at BioWare, working on Mass Effect 2, the sequel to the number one game of all time on the Xbox 360, is due to equal parts Luck, Networking and Determination.

What I do now as a Sr. Designer is a lot different to what I did 12 years ago. After 3 1/2 years fast-tracking a degree in English Literature followed by a diploma in Computer Graphics, I started my career in broadcast design.

This is where the Luck comes in.

I had grabbed Toronto’s Gold Book and highlighted all the post-production studios (1997 was pretty weak for web-access). After a week of searching and highlighting, I called each of my choices in advance, got the receptionists name and inquired about dropping off my 3D Studio Max demo reel (which I had, in those days, painstakingly put together on Beta Max in a post-production house). I spent a week walking to all of those places and one of them was Big Studios. The owner happened to be there while I was chatting up the receptionist and she took a look at my demo reel while I was there. She enjoyed the dolphin getting ripped apart by a propeller so much that she offered me a job on the spot (and by on the spot, I mean she hinted at it, talked with her financier and called me the next day). It was pure luck that I happened to be at the studio on a slow day when the boss was in, during a time of year when they were doing a crazy hiring spree. It was lucky that she had a sense of humour with regards to porpoise-julienne. I spent a year there doing crazy hours working with one of the most talented people I know in that business (did I mention she has 3 Emmys?) modeling, compositing and animating in just about every piece of software on the market at the time. It was a good experience and I learned a lot in that year.

This is where Networking helped.

But after a year I had burnt myself out: the turnaround for the American networks was usually 24 hours and I couldn’t keep up with the genius of the boss. I had networked with a lot of people and I decided that I would take a chance on my own doing freelance and independent work. I bought a domain name, set up a home office and started calling those network-contacts. I started doing a lot of small jobs, a lot of them that paid next to nothing, or nothing at all, while I marketed myself: a feat that was more difficult in the day without an established and well-connected internet populated with social-network sites like we have now. The amount of work I was putting in and how little income it provided me wasn’t balancing out and I needed a bigger job to land or I’d have to consider working at a company again. After how burnt out I was at the last place, the idea wasn’t appealing.

This is where Luck panned out again.

Someone I had met in college, Jen Julien, got a job offer while in school at Headline Sports (Canadians would now know it as The Score now) and they were looking for a contractor to help them establish their new look. After one interview and some discussions on what the new look could be (and no doubt due to my price, which would be substantially cheaper than going to a larger house), I landed the job and worked with them for several months on the new look. I received several accolades including a feature article in Applied Arts magazine, and this lead to some freelance jobs around Toronto that I wouldn’t have gotten without Headline Sports.

I ended up running my own shop for 2 years. But after an awful job that didn’t even pay in the end and when my best friend said to me that ‘He didn’t know how I could look for work every minute of every day” I realized that I just couldn’t do this forever. And to be honest, 3 years of logo assemblies can get a bit mind-numbing. Around that time, Baldur’s Gate kind of changed everything for me. I’ve been a gamer since Adventure on the Compaq and computer games were a part of my life. But here was a game that that proved that games were more than the arcadey twitch-click experience of JumpMan and Duke Nukem. Here was a company making the games I wanted to play; games that would change the face of how games were done. I wanted to be a part of that.

Dave Feltham, who hails from Toronto, is a Senior Designer on Mass Effect 2. He doesn’t like to think about the number of days multiplied by the 9 years he has in the game industry, nevermind the 3 before that in the TV industry. He has done broadcast design work for many major TV networks and has released games for the launch of every new-generation console since Microsoft’s Xbox. He giddily walked through BioWare’s doors 2 years ago and still can’t believe he works here. He likes coffee. A lot. He’s drinking one right now.

Ray and Greg at E3- Final Word

June 16, 2009 by BioWare

Part 1 of 1, by Jay Watamaniuk

We have cut together two videos of BioWare Overlords doing there stage presentation for Mass Effect 2 and Dragon Age: Origins. I myself was fascinated by the stark difference in presentation style between the announcer and R and G. I was afraid the fellow might detonate right there on stage.

me2logo

dalogo