{"id":127054,"date":"2024-05-27T18:00:00","date_gmt":"2024-05-27T17:00:00","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=99696995dfd39dc403a32558eb9711d5"},"modified":"2024-05-27T18:00:00","modified_gmt":"2024-05-27T17:00:00","slug":"exploring-the-intersection-between-a-i-and-indie-game-development","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/05\/27\/exploring-the-intersection-between-a-i-and-indie-game-development\/","title":{"rendered":"Exploring The Intersection Between A.I. And Indie Game Development"},"content":{"rendered":"

\"\"<\/p>\n

I woke up this morning and put on a white Hanes t-shirt mass-produced by a machine able to produce clothing at a rate no human ever could. But shirts like this used to be made by humans. While making coffee, I ask Siri on my iPhone what the weather will be like today and what my day\u2019s schedule looks like, and a few seconds later, an artificial intelligence-powered voice gives me the answers I\u2019m looking for. After sitting down at my work computer to write this, I opened Spotify and checked out my Discover Weekly playlist, hyper-curated to my tastes based on the other music I\u2019ve listened to over the past week.<\/p>\n

On Instagram, my ads feel uncannily targeted to me, and on X (formerly Twitter), I see a new batch of posters for Amazon\u2019s upcoming Fallout<\/i> streaming series called out for using A.I. None of this is possible without machine learning, which is what powers A.I. in other, more automated interactions some people use in their life and work, be it the chatbot ChatGPT, image creator Midjourney, or something else. But, as things like Siri, targeted ads, and curated playlists on Spotify settle A.I. into our lives in such a way we might not realize, there\u2019s a war brewing between humans and A.I. (and the people developing it and advocating for it) in the games industry.<\/p>\n

\"\"<\/p>\n

Caves of Qud uses Markov chains, a type of generative A.I., as a tool for statistical prediction<\/p>\n

\u201cWe\u2019ve elevated as a species \u2013 we have the idea of creative art as personal expression,\u201d Brian Bucklew, co-creator of the popular sci-fi roguelike Caves of Qud, tells me. \u201cGenerative A.I. is extremely transgressive because it\u2019s not only displacing jobs, it\u2019s displacing humans from a space where we\u2019ve decided, \u2018This is about personal expression.\u2019 We\u2019re looking at it and saying, \u2018Can [A.I.] be good art if there\u2019s fundamentally no expression underlying it?\u2019 Nobody has an answer to that. [A.I. in creative spaces like art] is totally new, and I don\u2019t think we\u2019ve reckoned with that at all.\u201d<\/p>\n

A.I. in Independent Spaces<\/h2>\n

Bucklew is one of the many independent developers \u2013 solo and within studios outside the triple-A publishing machine \u2013 I spoke to about A.I. and its use and effect on game development. Bucklew\u2019s Caves of Qud has been in development for more than 15 years. He says he\u2019s watched functions and jobs previously held by humans get replaced by automation and A.I. throughout his career. Even things he used to code by hand are now automated in game development engines like Unreal. He also says Caves of Qud is in a sub-genre that explicitly uses generative systems.<\/p>\n

\u201cThese aren\u2019t [language learning models (LLMs)]; this is not Midjourney,\u201d he says when I ask if he uses A.I. in the game\u2019s development. \u201cThis is not some of the new attentional-based A.I. that is getting a lot of the press right now, but this is absolutely machine-based generative systems. So the answer is no if you\u2019re asking if we use LLMs to generate code, but the answer is yes, we use, for example, Markov chains [generative A.I. that uses current events to analyze the predictability and production of subsequent events] to generate books. And these really aren\u2019t that different except, again, in scope.\u201d<\/p>\n

He says LLMs and Markov Chains are different but that both are statistical predictors; the latter is more primitive than the former, however. In either use case, he says good results come from hand authoring on top of the generative use of A.I. Javi Gim\u00e9nez, the CEO of Moonlighter and Cataclismo developer Digital Sun, agrees, noting there is no top-down mandate at the studio to use A.I. but that various developers there use it as a tool alongside their creative output.<\/p>\n

\"\"<\/p>\n

Cataclismo<\/p>\n

\u201cWhat has happened naturally is that some people at the studio \u2013 sometimes it\u2019s artists, sometimes it\u2019s programmers, sometimes it\u2019s designers \u2013 use some of the tools for specific tasks,\u201d Gim\u00e9nez tells me. \u201cSome artists, for example, might be using it to create compositions based on images they already created to explore things fast. [What] I see is that professionals on the team are adopting A.I. as something that empowers them […] and that\u2019s something happening naturally.\u201d<\/p>\n

Guillaume Mezino, founder and developer at Kipwak Studio, which is working on a 3D wizard school sim called Wizdom Academy, says he first made the use of generative A.I. programs like Midjourney mandatory. Instead of using Google Images to search for references to creatures for players to encounter, developers at Kipwak used Midjourney.<\/p>\n

\u201cI said to all my team members, \u2018Try to use it as best you can in every way you can and let\u2019s see where we can go from that,\u201d he says. \u201cAfter a few days, it was the best decision ever. The artists saw it as a good ally to help them make decisions and open their minds to new possibilities.\u201d<\/p>\n

\"\"<\/p>\n

Wizdom Academy<\/p>\n

Of course, it\u2019s important to note there\u2019s an inherent relationship between Mezino, the studio’s founder, and the employees there that might prevent said employees from saying otherwise. After all, he mandated A.I. to begin with. Would these developers want to use A.I. of their own volition? Anecdotally, within the wider games industry, I\u2019d say no.<\/p>\n

When I ask Mezino about A.I. replacing jobs at the studio now or in the future, he says most of the work A.I. does for Kipwak is work that a human would never have done. For example, he says Wizdom Academy features a lot of artwork. \u201cIf I had to pay humans, if I had to pay people to do 150-plus artworks, we would have never been able to do it,\u201d he says. Instead, someone at the studio used A.I. to create those artworks. I ask if Wizdom Academy would exist without A.I. He says it would \u2013 just not as fast or as good. There\u2019d be less art, fewer conversations (also powered by A.I.) to have with teachers at the school, and overall, \u201cWe would have gone for something way simpler, so less appealing, and I don\u2019t think anyone wants that.\u201d But that begets another question: Do people want the version of this game that uses A.I.?<\/p>\n

\"\"<\/p>\n

Wizdom Academy<\/p>\n

Even though Gim\u00e9nez\u2019s studio uses A.I. in its processes, he still feels there\u2019s a legitimate concern about where A.I. gets its information from. He believes more substantial intellectual property and copyright legislation is necessary to protect human creatives. He doesn\u2019t know the catch-all solution, though. Mezino says his team only gives A.I. work that people at the studio have created by hand.<\/p>\n

\u201cWe are not comfortable with the idea of work being used to train A.I., work that was not paid for by companies,\u201d Mezino says. \u201cWe do what we can and for us, it means we always have to give it what we do first \u2013 to give it our job, our work, and we ask it to do something with it, and we take it back and work on it again. That\u2019s the best we can do.\u201d<\/p>\n

Mezino, like Gim\u00e9nez, wants to see stronger legislative protections placed on how A.I. is used to protect original artists.<\/p>\n

\"\"<\/p>\n

Wizdom Academy<\/p>\n

A.I. and Ethics<\/h2>\n

Hilary Mason, machine learning expert and CEO of A.I. entertainment start-up Hidden Door, agrees. She wrote a book, Data Driven<\/i>, with the Obama administration\u2019s chief data scientist, DJ Patil. It centers on this topic and the questions and methods those interested in using A.I. should adopt to do so ethically.<\/p>\n

She\u2019s not immediately concerned with A.I., adopting the mindset that humans are still in control. But 20 years from now, she understands why communities are worried. \u201cIt\u2019s not unreasonable to imagine a future in which you can describe a movie you want […] and there wouldn\u2019t be technical limitations in the way of it being created for you right there,\u201d she says. \u201cAnd it might actually be great. How do we, today, set up the foundation so that when we have that capability, we will value human energy and creativity?\u201d<\/p>\n

\"\"<\/p>\n

Hilary Mason, machine learning expert and CEO of Hidden Door, an A.I. entertainment startup, in a video for Wired<\/p>\n

She says there are activists and communities big and small, loud and quiet, working to make this happen. But she also admits it\u2019s impossible to know what A.I. and the surrounding conversation looks like 20 years from now. For her part, Hidden Door strictly licenses the properties and IPs it uses to bring A.I.-created D&D campaigns to users. Not ready to share specifics, Mason says Hidden Door is partnering with a number of fiction authors to make these campaigns happen. She envisions a world where someone could watch a new Star Wars movie and immediately go home and whip up a D&D campaign set within the movie\u2019s world, laws, and physics using Hidden Door and its A.I. dungeon master. And it would do so ethically thanks to licensing agreements that ensure the right people get compensated and share Hidden Door\u2019s revenue.<\/p>\n

Of course, Star Wars might be a pie-in-the-sky property, but Mason is excited about some of the book authors already on board.<\/p>\n

Bridging the Gap<\/h2>\n

For someone like Cameron Keywood, founder, director, and solo developer at DragonCog Interactive, A.I. was the only way to turn his vision of a game into something people can play, he says. \u201cI have used it in development, but that was from a budgetary point of view because I\u2019m a start-up studio, and artists, while they do good quality work, are quite expensive for the work I am doing, which is a visual novel,\u201d Keywood tells me of his upcoming sci-fi game, Baskerville, that reimagines 1902\u2019s The Hound of the Baskervilles<\/i>. \u201cI needed 30 backgrounds and 18 characters, and that would have cost a lot. For projects like that, I think it\u2019s okay.\u201d<\/p>\n

Keywood says he questions where A.I. gets its learnings from, and while he appreciates that A.I. has allowed him to create a game he can\u2019t otherwise make, he\u2019d prefer to hire an artist. But financially, it\u2019s not possible for him. He ponders using A.I. to create something like Baskerville that could earn enough money for a future project where he hires artists to create the art. Ultimately, he hopes A.I. remains the assist tool he feels it is today, but he could see it going a more disruptive route that ends with humans losing jobs.<\/p>\n

Matt Wyble, COO of Marvel Snap developer Second Dinner, positions A.I. in a similar vein. \u201c[A.I.] is unlocking our ability to make experiences that we couldn\u2019t have made before,\u201d he tells me via email. \u201cIt\u2019s not replacing team members but rather, empowering our small but mighty team to create like they never have before.\u201d Wyble\u2019s coworker and Second Dinner vice president of A.I., Data, and Security Xiaoyang Yang likens A.I. tools in the workplace to building a \u201cmech suit\u201d for developers.<\/p>\n

\"\"<\/p>\n

Baskerville solo developer Cameron Keywood used A.I. as an assist tool for background art in the visual novel<\/p>\n

\u201cImagine A.I. as this ally that can play Marvel Snap across countless scenarios, mimicking players of varying skill levels using decks of different archetypes,\u201d Yang writes to me via email. \u201cOvernight, the A.I. tool analyzes all the games played and generates insights on game balance, spotlighting overpowered elements or underutilized strategies, which is invaluable for designers. With this new \u2018Mech Suit,\u2019 designers no longer had to release a game, knowing it might have balance issues, relying on player data post-launch to make adjustments, which often led to suboptimal player experiences. Now, designers in this mech suit can significantly reduce these instances by identifying and addressing balance issues even before the game hits the market.<\/p>\n

\u201cIt\u2019s a protective, rather than reactive, approach to game balance, ensuring players get a more polished experience from day one.\u201d<\/p>\n

\"\"<\/p>\n

Baskerville solo developer Cameron Keywood used A.I. as an assist tool for background art in the visual novel<\/p>\n

When asked how A.I. could disrupt creativity within game development, Yang says it\u2019s crucial to remember that the human element is at the heart of every game. He posits that games without a human\u2019s touch don\u2019t have fantasy, achievement, emotion, storytelling, and connection.<\/p>\n

\u201cIt\u2019s like what [Apple co-founder Steve Jobs] said about computers being the bicycle of the human mind,\u201d Yang says. \u201cIn today\u2019s context, A.I. is the e-bike of human creativity in game development. It empowers designers to explore wild new ideas, pushing the boundaries of what\u2019s possible in game design.\u201d<\/p>\n

Ultimately, he sees a future where progress in A.I. is not merely about leveraging technology for efficiency tasks like coding but also about embracing it as a tool and partner in the creative process. Of course, that line, the separation between a tool or partner and the loss of a job, grows thinner by the day. And in a world where executives continue to squeeze pennies on the dollar out of everything in game development, it\u2019s not hard to see the day when leaders cross that line in the name of cost-cutting.<\/p>\n

\"\"<\/p>\n

Kohlrabi Starship solo developer Katja Wolff opted not to use A.I. art or audio<\/p>\n

Solo developer Katja Wolff of WolKa Studio, which is developing sci-fi farming sim Kohlrabi Starship, has primarily opted not to use A.I., even if she understands why someone in a position similar to hers might.<\/p>\n

\u201cI tried a lot of A.I. tools, but in the end, I decided not to use it beyond sometimes brainstorming,\u201d Wolff tells me. \u201cSo basically, it\u2019s zero A.I. art, zero A.I. audio, but sometimes I use ChatGPT for brainstorming in the English language because it\u2019s not my mother tongue.\u201d<\/p>\n

As for why ChatGPT is as far as she\u2019s gone with using A.I., she simply wasn\u2019t impressed with the options for A.I. art and audio development, noting that programs like Midjourney can\u2019t create the homogenized visual style one might want in their game. She thinks it\u2019s a matter of time before these programs catch up, though. And as A.I.-powered technology grows more competent, she hopes legislators will work harder to protect creatives. She likes Steam\u2019s approach: requiring developers to indicate A.I. usage on the game\u2019s page but only after the developer proves the game doesn\u2019t use copyright-protected data.<\/p>\n

\"\"<\/p>\n

Kohlrabi Starship<\/p>\n

Like Wolff\u2019s use of ChatGPT, RoboSquad Revolution developer Zollpa utilizes the program to streamline the studio\u2019s organization. CEO Aaron Jacobson says Zollpa uses ChatGPT to organize notes after meetings, something that might take hours to do by hand but is done in minutes by A.I. \u201cIt\u2019s something that we probably would pay a secretary a full salary to do for us and [ChatGPT] is just able to do that, and in a very short period of time with just a few clicks of a button.\u201d<\/p>\n

That\u2019s one secretary job lost to A.I. at Zollpa.<\/p>\n

\"\"<\/p>\n

Kohlrabi Starship<\/p>\n

He says it uses ChatGPT to brainstorm new character classes, weapons, and names for the robotic characters in RoboSquad Revolution, which began as a blockchain idea that uses NFTs before sentiment around that technology soured (and funding money largely disappeared in that sector) and the team scrapped the idea. Jacobson says that technology might be integrated into the game one day.<\/p>\n

Jacobson says Zollpa built RoboSquad Revolution narratively on the premise of A.I. Twenty years from now, A.I. robots have taken over and are \u201cwalking versions of Siri or something like that,\u201d that you control with third-person shooter gameplay. Jacobson says that despite using ChatGPT to brainstorm ideas that make their way into the game, \u201cthe development of the characters in the game is absolutely 100 percent created by humans,\u201d except for the voices; those are created by A.I., which Jacobson justifies narratively by explaining the robots in-game are powered by A.I.<\/p>\n

Looking 20 years into the future of our real world, Zollpa marketing and brand specialist Richard Henne thinks the game development landscape will be a lot more competitive because of A.I.<\/p>\n

\"\"<\/p>\n

Robosquad Revolution\u2019s robot characters are voiced by A.I.<\/p>\n

\u201cI imagine that bigger companies who are squeezing for over-the-top profits are going to try to use this for everything from character models to generative levels, which again is already happening, to voice \u2013 all that stuff, I\u2019m sure is going to be attempted to be fully replaced,\u201d Henne tells me during the same conversation he and Jacobson explain the robots in their game are voiced by A.I. \u201cMy hope is that companies do not fall for that. But if we\u2019re actually talking 20 years from now, I do think it\u2019s probably going to be a lot more of a competitive landscape, there will likely be layoffs, there will likely be protests and social movements, and I would be very surprised if this doesn\u2019t happen.\u201d<\/p>\n

But like Mason, Gim\u00e9nez, and everyone else I speak to, Jacobson and Henne want to see stronger legislation created to help regulate A.I., a technology that, by all accounts of those I talk to, is one where Pandora\u2019s Box has been opened. Unfortunately or fortunately, it\u2019s here to stay, depending on where you fall in this conversation.<\/p>\n

The Problem on the Horizon<\/h2>\n

Bucklew feels the issue at the heart of the A.I. discourse, the rightful concern that people will lose jobs to the technology, strikes at a problem with society itself: We do not protect those affected. He says using copyrighted content to train A.I. models is unethical and should not be allowed \u2013 you should have to compensate users. \u201cThe other side of it, which is just using automated systems to replace human labor, that to me \u2013 whether or not that\u2019s ethical \u2013 we\u2019ve decided as a society that\u2019s what we do, right?\u201d<\/p>\n

The shirt I put on this morning was once a product created by human hands until the Industrial Revolution in the 19th century turned it into a more automated process. People lost their jobs. But time advanced, and jobs were created around the new emerging markets, jobs that hopefully the jobless picked up. Bucklew says the same happened with car manufacturing, construction, and many other workforce sectors. With proper transition management, he thinks these massive changes in how society works can be smoother.<\/p>\n

\"\"<\/p>\n

Cataclismo developer Digital Sun does not mandate use of A.I., but various individual developers use it as a tool to bolster their output<\/p>\n

\u201cI think we\u2019re in the middle of a [transition] now, and so it\u2019s extremely painful for a particular alignment of laborers who are visual artists, musicians, or voice actors,\u201d he adds. \u201cAnd they don\u2019t have a job to go to, and we don\u2019t have any kind of safety net in society to say, \u2018Well, you\u2019re going to be fine. We\u2019re going to allow you to move to this new constellation of labor,\u2019 but nothing\u2019s going to stop this constellation of labor. [The] cynical business lines of force are going to force that new constellation of labor because everyone else will simply not be able to do business on a competitive level without it.\u201d<\/p>\n

Cynically, Bucklew is not confident the cat can be put back into the bag, though. And he\u2019s not confident we\u2019re adequately prepared for the A.I. transition we\u2019re barreling toward. He ponders whether we should focus more on what happens afterward when people lose their jobs rather than what\u2019s happening today.<\/p>\n

\"\"<\/p>\n

Caves of Qud<\/p>\n

\u201cTo the extent that we allow capital to drive these systems, I don\u2019t think there\u2019s any route where all the labor that can be replaced by automated systems isn\u2019t replaced by automated systems, and the questions we\u2019re going to have to be asking in 5 or 10 years are ones that just seem bizarre to us,\u201d he says. \u201c[That\u2019s] obviously disastrous for the way society\u2019s stood up right now, where you should have a job and pay your bills with the money you earn.<\/p>\n

\u201cI think that alignment is failing quickly and will fail more quickly than we can figure out how to get people into new jobs. And so, we have a real problem over the next 50 years as these systems continue to take off.<\/p>\n

This article originally appeared in Issue 365<\/a> of Game Informer.<\/em><\/p>\n\n

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SalesExecutive@ITSec.vip<\/p>","protected":false},"excerpt":{"rendered":"

I woke up this morning and put on a white Hanes t-shirt mass-produced by a machine able to produce clothing at a rate no human ever could. But shirts like this used to be made by humans. 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