i couldnt get the proportion that makes the games and working conditions better here. longer development time ~ better game ~happier employees? 7 years of development time~ L.A. Noire ~ a class action? yea yea just kidding, one person mentions a hacker not being able to guess the outcome of his action... a hacker? really? (i think i hacked in this now, uhm now what? let me share this with others so they can have pizzas too yayyy!)
Game Developers' Quality of Life: Why Should Gamers Care?
In this feature, we ask if quality of life at development studios should affect how gamers think about the industry.
Why Should Gamers Care?
Seattle-based Tom Buscaglia--the self-proclaimed "game attorney"--has been representing video game developers in all aspects of business and legal matters since 1991. He's also a hardcore gamer. His approach to this topic is logical: "Think of how fewer crappier games you'd buy," he says, if game developers' quality of life was a non-issue. "Think of how fewer games you'd buy and say, 'Oh God, that was a mistake'. I do it," he admits. "I raise my hand. I bought Duke [Nukem Forever]. It was a nostalgia buy! But it was a really sucky game. I wanted Homefront to be a great game, but I bought it and it was terrible. If you look at the background of what was going on at Kaos Studio while the game was being made, people were being treated poorly."
For Buscaglia, the things that cause game studio management to treat employees poorly are "the same sort of mindset that causes a studio to release a game that's not ready to be released. Or that gets a studio to put people into a 'death march' [a long-term crunch to meet a deadline] because they don't care if the game sells--but if it's released in this quarter, they get to book all those sales before the end of the year, so their financials look good, and they don't fail to meet projections that were made by marketing analysts. There's a whole bunch of elements influencing how games are made and when they're released that really don't have anything to do with games," he says. "They have to do with stock prices and publicly traded companies; to do with cooking the books and selling bullshit to suckers."

Buscaglia's assertions strike a chord, as gamers are among the biggest losers in such situations. If the game sucks, those who bought it feel ripped off. So, too, do the developers, who know that the product isn't as good as it could have been had they been allowed a little more time.
"And their families are disappointed," Buscaglia continues, "because 'Daddy was working 80 hours a week. He's cross and irritable, and I haven't seen him in four months because he's been working on a game that was released early and plays badly.' Tell me, who wins in that one?"
The unfortunate reality of discussions surrounding game developers' quality of life is that we tend to hear only about the worst cases. Spouses grow frustrated, or journalists grow curious, and a story becomes part of the public discourse. It's rare that a studio makes the headlines for providing a supportive work environment where both talent and regular working hours are valued and celebrated. Such studios do exist, though. In the UK, Brighton-based Relentless Software proudly proclaims to have "mastered over 100 SKUs [products] and have never crunched, never worked late, and never worked a weekend," according to its website.
Last month, the managing director of Ninja Kiwi, a 15-person Flash and iOS development studio based in Auckland, New Zealand, was moved to comment on a Games.on.net report alleging 120-hour work weeks at Gameloft Auckland.
"One of the most important things to us when we set the company up was ensuring we pretty much stick to a 8.30am-5pm work time," wrote Chris Harris. "Half our team are parents, including myself. Who wants to miss dinner/bedtime with their kids? Life is only so long, and I believe you only get one turn on the merry-go-round." Harris told GameSpot that he and his cofounding brother, Stephen, "never even considered that we were 'taking a stand, righting the wrongs of the industry.' We were just doing what we thought was normal," he says. "Turns out it wasn't."
Harris proudly states that Ninja Kiwi has a monthly research and development budget of NZ$100 per person, which allows staff to be reimbursed for games that they buy--as long as they're prepared to report back on the experience to their colleagues. "I think for people to be really creative, and really useful, as employees, they need to mix in the world. [They need to] have relationships with their friends and family, watch movies, play games. God; so many developers don't even play games," he sighs. "'Too busy...'"
Similarly, the website of Vancouver-based Next Level Games states the studio's philosophy, that "excellent games are made by fostering a healthy, positive, and creative environment. We believe that work is only one component of your life, and that creative minds work more effectively when they're rested." By extension, does Next Level--which is responsible for titles such as Super Mario Strikers and Captain America: Super Soldier--believe that happy developers make better games?
"Absolutely," says Sean Murch, the head of business development. "We see 'happy,' in a work context, as 'being engaged.' That is really the key. Part of that engagement is about providing a fair, safe, and equitable workplace, of course; but all these are in service of the engagement. Think of it as removing the barriers to natural engagement."
Murch stops short of agreeing with the suggestion that gamers should boycott games made by studios that offer unsatisfactory working conditions, though. "There are hundreds of thousands of household products that we buy every day that are manufactured under truly inhumane working conditions," he says. "It's not reasonable to expect that the same consumer should care if a North American or European game developer is working too much overtime and not seeing their middle-class family as often as they would like to. I'm not saying that it's right, but I just don't see that sort of purchasing discretion as being a realistic goal for your average human being today."

Still, Murch believes that it is a responsibility of all game development studios to "engage their employees effectively, and to provide an example of how things can be done differently. I believe we have done that consistently at Next Level Games. We consider it part of our corporate responsibility to share our learning and achievements in this area, so that people can really understand and know there is a better way to coach and manage for performance: by treating people with respect and dignity, and constantly challenging and engaging them in their work."
Murch's sentiment is echoed by Kellee Santiago, cofounder of Thatgamecompany, a 12-strong development team based in Los Angeles, which was responsible for the 2006 hit Flow.
"I think gamers should care [about this issue] as much as anyone who supports the arts and/or entertainment should care," she says. "The act of creating anything is, in and of itself, a strenuous process. The better the quality of life developers can have during that process, the better the games are that come out from that process. We have many good games to play today, but what I've learned as a gamer since I've come over to the development side is that these games could be even better. I see the sacrifices in video game experiences that are made because the development team simply couldn't support through their crunching-six-days-a-week-12-hours-a-day-for-9-months-straight development schedule. I see extremely talented game developers who have to quit game development because of burnout. If we, as gamers, support games with more sustainable development processes, we ensure many more better video games in the years to come."
Or, to put it another way, in the blunt words of game attorney Tom Buscaglia: "If gamers think there's a disconnect between the quality of life of the people who make games and the quality of the games they make, they're sadly mistaken."



