In the world of game development, the question of whether external studios should venture into creating their own games is a complex and intriguing one. It's a topic that sparks passionate debates and offers valuable insights into the industry's dynamics. As an expert commentator, I'm here to explore this question and provide a fresh perspective on the matter, delving into the personal experiences and opinions of industry professionals. So, let's dive in and uncover the fascinating nuances of this discussion.
The Case for Internal Projects
Many external development studios, such as Redcatpig and Virtuos, strongly advocate for the creation of internal projects. Bryan Freitas, Tech Director at Redcatpig, emphasizes the importance of working on personal projects, stating, 'There's only so much you can do to make an external project feel like your own.' This sentiment resonates with many developers who find that external work, while fulfilling, may not provide the same level of creative satisfaction as working on their own ideas. Freitas believes that personal projects are essential for maintaining motivation and a sense of purpose.
João Toste, Art Director at Redcatpig, adds that internal projects offer valuable learning experiences. He explains, 'You see how an art choice plays out across a full production cycle, not just a slice of one.' This perspective highlights the importance of understanding the entire development process, which can be invaluable when working on external projects with tighter constraints. Toste's insight suggests that internal projects serve as a sandbox for experimentation and skill development.
Mike Sherak, Managing Director of the art division at Virtuos, agrees that internal projects provide a unique learning opportunity. He notes, 'It also gives us firsthand experience of the complex nature of game development that our partners know all too well.' This firsthand experience can enhance the quality of external work, as it allows studios to better understand the challenges and demands of game development.
Balancing Act: External Work vs. Internal Projects
However, not all studios embrace internal projects. Rob Hewson of Huey Games, for instance, prioritizes external work, stating, 'We put our clients and our external development work first.' Huey Games' philosophy revolves around minimizing risk and ensuring a steady stream of work. Hewson acknowledges the value of internal projects but believes that external work is the primary focus, as it provides a more stable and predictable income stream.
Lindsay Gupton, CEO of Pipeworks, offers a nuanced perspective. He acknowledges the benefits of both external and internal projects, stating, 'Partner work exposes us to different pipelines, engines, production models, and creative challenges. Internal projects let us apply those lessons to opportunities where we own the full experience and can experiment.' Gupton's insight suggests that the balance is not about choosing one over the other but rather finding a harmonious coexistence that strengthens both aspects of the studio's work.
The Risks and Rewards of Owning IP
The discussion takes an interesting turn when we explore the idea of owning intellectual property (IP). Joe Harford, CEO of Airship, expresses caution about the romance of owning IP, stating, 'I'd be cautious of the romance of owning IP, though. For a service studio, it can quietly become a trap.' Harford's perspective highlights the potential pitfalls of IP ownership, including resource consumption, distraction from core services, and competition with clients.
Chris Wood, CEO of Tanglewood Games, agrees with Harford's caution. He explains, 'We made a conscious decision early on not to do our own projects and to instead focus solely on providing a service to an incredibly high standard.' Wood's decision to avoid internal projects is driven by the desire to maintain a high level of service and avoid the potential distractions and risks associated with IP ownership.
The Future of External Studios
As the conversation evolves, we consider the future of external studios. Myke Parrott, CEO of CodeDev, hints at a potential shift in focus. He states, 'As we grow, we're seeing increasing demand for more self-contained, full-spectrum development teams who can take on entire projects of one form or another.' This suggests that external studios may increasingly cater to the needs of clients seeking comprehensive development solutions, potentially blurring the lines between external and internal projects.
Conclusion: Finding Balance and Purpose
In conclusion, the question of whether external studios should work on their own games is a multifaceted one. It invites us to consider the personal motivations, learning opportunities, and business strategies of these studios. From the passionate advocates of internal projects to the cautious approach to IP ownership, each perspective offers valuable insights. Ultimately, the balance lies in finding a harmonious coexistence between external work and internal projects, ensuring that studios remain focused, motivated, and aligned with their core values. As the industry continues to evolve, the interplay between these two aspects will shape the future of external development studios, offering new opportunities and challenges for those who dare to explore them.
