 So, does anybody recognize this? Because I would be shocked if anybody does. Really? Do you? Huh? Yes? For sure that. Yeah. And the character? Huh? So, this guy was named Clayman. A genius in claymation back in the day called Doug Tenapple. He did earthworm gym and then he followed on with the Neverwoods, Skull Monkeys, and this is the original Clayman. So, the only reason I use that as an opening slide was, yes, the Petruvian man, the perfect human, and we're going to dispel that myth today, what the perfect human is, and how we engage in our environment. I'm going to do a little brief of this Lakota. Okay, so a little bit about me. So, I was a happy classical painter and became a muralist and went into industrial design with a focus on the last architecture before I got into this world 20 years ago in digital. And I was up in the Bay Area. I was at Dale Chibuli School and I had a friend of mine down here. I grew up here in LA who said, Kathleen, you need to get on the bus. And I was like, what the hell are you talking about? This was back in 94, 95 days. And actually, either in this building or next door was SGI, Silicon Graphics. So, I started my first animation course being an animator at SGI. Was this the original Baywatch building, production facility? Because that's where SGI was. Anyway, so it all happened right here. And I was sold and I immediately was able to see how my creativity would lead to yet another generation of incarnations, of many incarnations. So, I came out as an animator and luck would have it. I got hired in at DreamWorks and, you know, Interactive. I don't know if it was before or maybe at that time, but it sure was. And guess what? It was a hardware video game company that was, you know, back ended by EA and Microsoft. So, it wasn't a place where I was going to be game designing like Chris and my animation skills needed to actually get better. So, I became a localization producer. So, all of a sudden I was shipped abroad, now looking at video game titles, you know, looking at NTSU to pal, looking at the cultural literacies, and having a different view into video games. So, in the last year, our animator video games, like in a year and a half. So, from that went on to IBM Innovation, then went on to Disney and that was sort of the arc of my career, which ultimately after, you know, 21, 22 years, what's the umbrella? It's experience, strategy, and experience design at this point. I kind of touched all parts of the entire life cycle. So, you get to a point where my arc and the industry arc has been in parallel. So, it's a kind of perfect place to have a global discussion around what experience strategy is. Okay, I'm not going to repeat any of that. Sort of, well, I've been a game designer my whole life, essentially. I just didn't know it. I was a third year freshman at UCLA when I decided to drop out. Actually, I didn't decide to drop out. I had five friends stop me mid-sense and go, shh, going to New York. And I went, what? So, I put together a crappy resume, sent it off to four different companies, and I stayed persistent with one without being a jerk and got hired in as a tester on a ground floor. End of 1994, beginning of 1995, I started working as a tester at Blizzard. Something we'll probably recognize that. So, I was employee 50 in that arc, incarnation of Blizzard. It existed as a few days before that. Worked on the end of Worldcraft II, a little bit of, well, actually, most of Diablo and a little bit of Starcraft when it was still works in space. And then I went from there. I did a short stand at another company. Nameless. It was less than three months ago. And then I got hired at the Dreamworks because of my RTS experience to work on... Actually, we'll cover this a little bit later. Okay, to work on games there. And then I made the jump in the game design. And at that time, I met Kathleen. And that was a pretty magical incubator at the time of 1996 and 1997. There was a lot of talent in that building. And that, like, I've been let down ever since just a little bit. That nowhere else in the world is just like it. I don't know if it was a time in our life where it was actually that magic bubble. It was like this bubble of 20-somethings to early 30-somethings that were given to big budgets and a little bit of freedom to make mistakes. But it was also less risk averse at that time. Anyway, Metal of Honor came about. I moved on to that as a game designer. That product started out as... Well, the original incarnation for that team was a Jurassic Park game. Steven Spielberg came in and he said, Jurassic Park? That's a dead license. Forget that. You know what I'm doing right now? I'm doing a World War II movie. You guys should do World War II because Gold Knight's awesome. He played a lot of games at the time. He was also a game designer now. He influenced this product and he said, Oh my God, a first-person shooter on a PlayStation 1? Impossible. And then we went and solved that problem. That turned into us getting bought by Electronic Arts. We moved into making it into a franchise. And then we can talk about the sins of large companies as well if you'd like to in the human area. They all make their own mistakes. Then we went into a product-based learning. Actually, if you talk to people in video games, basically you can ask them which finishes they want to do. EAA Activision, who we saw, or who else would be big enough to do it? Maybe 2K. But the production philosophies are all a little bit different in the way they operate. Yeah. And then I wondered through Hollywood for a little bit. Made a lot of paperwork. And then I'm independent and now teaching at a local university and where I live. But I'm also consulting on various projects. Somehow that's working. Mostly because one of the biggest sins of large tech companies is ageism. I got age out and I'm expensive. Right? So what that does is it removes mentors for the younger generation. And so they're solving the same problems with slightly different tech. One of the projects Chris and I worked on at the beginning of the year was for the U.S. Department of Education, which was a platform we created called Raptitude. It was a VR aptitude testing platform with the idea of doing career and college readiness for socioeconomic challenged high schoolers who actually can't get access to touring universities or don't know how to match their skill set to what university. So unfortunately we didn't win to move on to the next round, but it's still the back burner. Hopefully we can turn that one out. So I'm just going to see up one thing I mentioned before, which was everybody familiar with experience design? Separate than U.S. or UI? User experience? Is there a show of hands here? Experience designers? Actually, let me take one step back. Who is actually in the room? So if you're a gamer, will you raise your hand? And if you're in product school and you're looking to become or are a PM? Okay, U.S., any U.S.? Okay, so all you U.S.ers I'll be pointing at you. Business, interest, outside, other, somewhere in between. Okay, so experience design's been an interesting word and an interesting buzzword. So I came by it naturally understanding it because I came out of Disney after DreamWorks. So after we launched Disneyworld.com, we were given the opportunity to think about re-architecting EBCOT with new technology. And today you've been to Orlando. I don't think it's actually launched here maybe. It's the My Magic Plus wearable device, which if you are familiar with it, it's four RFID chips, one near-fill communication device in a wearable that promises a seamless experience. So it's your fast-passure room key, your reservation system, it's a personalization GPS tracker, it's all of that. But everybody that's actually used it and invested the hour plus prior getting to Disney to program, you know, your favorites, it's been a payoff. I haven't heard any negative feedback. So when they asked us to re-architect EBCOT with new technology, that's what came of it. I didn't work on that project, but I was at the first round table meeting of what does that look like? And at that point it was a lot of, well, it's a lot of data. And this is a lot of mining data. And this is a long-term relationship and a big CRM that Disney's going to have with its customer base. And I don't know if that's scary or I don't know if I want to be here for 20 years doing it. But the point is, experience design from Disney was all about the best storytelling and was a traditional topic about it. But I just wanted to sort of re-emphasize experience design when you use that phrase today. In two weeks, my industry, theme park development, which is a lot of what I do currently today, is all meeting for their annual conference. And a lot of people consider themselves experienced designers. So it's themed entertainment that kind of owned that title. And we'll go through the arc of when that sort of shifted to UX, UI. But experience design, typically from my world, how I was taught was theme park development or family entertainment centers or some kind of interaction between your physical space and everything around you. So go ahead and answer that question. Well, actually, I'll jump right off of like experience design. So what's interesting is I think of every game product that I work on as an experience. And it starts with a use of start with the box, right? And then it went to, you know, like first screen, intro, how you pace everything, how you draw people into the experience for maximum enjoyability and endorphin release. So, but getting back to it, part of that actually endorphin release is actually really important here. So what's significant about this slide is not that it's cool cookie pictures or whatever, but basically how this relates to game design is whatever skill that you have, if you can score it, you can game it, right? And so we'll get into this a little bit later, but in moving from that, data actually empowers game design in a huge way. And it's what's enabling, I don't know, how many steps did you take today and did you feel good about it? You know, what's, did you raise your heart rate above a certain level, et cetera. Those are all based on very simple gaming. But what's the actual question? How can you explain stories on your criticals if you require development? Yes. So, story, from my point of view, I'll wrap this all up here. Nice package. Story and game design go together like this. They're meshed. But it's not always the narrative that you're being fed that's the story. The story has to involve the person that's using it. Interactive, anything, has to consider the person in fact and what they bring to the experience. And you have to consider that even if you want to drag them down a very linear path, you still have to consider that person outside what their feelings are, how they're going to engage to make the product feel full. It's not necessarily in linear media, but for sure in games it is. So, what we're going to add on here was that gaming and video gaming are trying to figure out the cross-section between the two. Experience design and video gaming or gaming, one is focused on feelings, the other is focused on emotions. And what Chris said when we first started talking about this is turning numbers into feelings from a gaming point of view, from an experience point of view, it's turning story into emotion. So, they're really the same thing in essence. And at the end of all this, we realize that, well, you're going to have to add something in there. As far as this one, I mean, does everybody understand what numbers in the feelings means? Basically, in a digital medium, everything is defined by number. How those numbers work produces a certain feeling. So, who's played Mario, Ron? Or any Mario game? Okay. Let's say on a scale of one to ten, Mario runs at a speed of six, which is equivalent to something like two meters per second. If I were to go behind the scenes and you didn't even know I was doing it and change that number to a three and he was going half as fast, how would the game feel slow? Because your experience tells you that Mario runs as fast as you run as slow. And that's not an emotional, like a hard emotional feeling of love, hate, et cetera, but it's this autonomic feeling that you're going to start to create that happens at one level. I probably won't dive into all of those. There are multiple psychological levels that you design. So, this was the question that we asked. Is engagement emotionally fulfilling? And, you know, there's so many buzzwords today, and engagement is probably one that you might have crossed in many of your projects or products. And at the end of the day, is it emotionally fulfilling? You might want to jump on this. You know, you shouldn't go either way. It doesn't mean a success. Is it emotionally fulfilling? Right. And basically, this is one of those things like engagement in digital products these days and even other forms of interaction with companies is all caring. Right? Do a thing, you get a care. Do a thing, you get a reward. Reward, reward. But is it actually emotionally fulfilling? And it's the products that you emotionally attach to that you'll continue to come back to. This is why you'll hear the other watchword. We need more social, right? Because it's a heartless product that needs your friends to put some emotion into it. Right? Because the stickiest retention is social. So, like, I could care less about Nintendo if Kathleen's playing it. Like, oh, okay. One more day of, you know, a mindless, headless running. Or something like that. Oh, look, I got a cool coin. It seizes, it starts to, you start to get a callus. Right? Because you get it from getting the same reward. So, in looking at experience strategy, experience design from theme parks, and looking at it from a gaming point of view, I asked Chris, so what are sort of the rules around games? So, maybe you can talk a little bit. This is where, you know, theory or gaming, what makes something engaging? What makes something fulfilling? Especially if you're starting just from here. So, I referenced this a little bit. I'll give you another quote. It's not, you can't ever look at it as a 2D problem. It's never just giving people rewards or giving people actions. You actually have to build this layer cake of rewards and then appeal to your different decision-making centers. And so, the way I look at video games is actually nested loops, right? So, what is the player, what's the most, so what, like, here, I'll back it up this way. You're going to have everything in Ego and Super Ego, right? So, in is your reflex, survival instinct, Ego is school of mind, and how powerful I am, and Super Ego is school of mind in this world, and how am I defined. Those decisions don't happen all at the same time. They have different time loops for players. In, when people talk about good gameplay, it happens like this, right? It's actually the stuff that happens by reflex. In fact, you start to get a muscle rendering when you're playing games. It all needs to be designed, right? Not only that, but it then needs to hook into how powerful do I feel. Not only am I getting rewards, am I progressing, right? Am I getting more powerful in the relative state of what's going on in games? And then, Super Ego is, what's the leaderboard? What's the high score? How is my friend doing? How many levels of gaming crush did, did, did, did, I'll spend, complete, and I can't believe that he did that because he's not that smart. He must have bought his way through, right? The thing is, is these decisions all happen at different time loops, and that's the, that's the underpinning of this, but at the top, there's a narrative or an arc, and most people miss this. There's a, there's a story arc. There's also a later arc, right? And by player, you can use player and user interchangeably. I'll say player reflexively, but we're still talking about users, right? So then user arc, where is it that you want to take them to? Right? If you just go on reflex and design a bunch of activities, one after the other, without some progression, I think it's repetitions of people, right? But if there's some promise on the other side, if I wear my Fitbit, I'm going to get, yo, right? I'm going to get Fit, like potato thighs, because you run it all the time, like there's a net benefit, but it connects back to the outside world, right? So if you can take people into your product and back out to the outside world and take them in part, and everything that you do, you'll have a much more powerful product than you ever have and it's not just doing like lead activities. So not only is it almost fun, but it's a lot of fun. So on the experience side, so some people have said, what's it take to build a theme park? Has anybody been involved in family entertainment centers or theme parks here? In any capacity? Awesome. I can play. I should. So it sometimes is 12 to 15 steps to build a theme park, and that could go three to five years easy and multi-millions, even billions. So right now, I'm working on a theme park for the BBC in China for two brands, for Top Gear and for Planner. And the concept phase of that alone was nine months, only to move to phase two, which could be two years, only then to move to phase three or four or five or six. Between phases one and six, you have to grow ground. From six to 12, you're dealing with all operations functions, and you're actually dealing with what it is to build the actual site. And then at the end of the day, it could be empty. It could be a total bomb and a failure, so you really have to plan what those steps are. And it's the same process that Chris is talking about. It's the in, the where you go, the ego. We're not thinking about it in the same way. And also in theme park development, you may not be the governing body from steps one to 15. You might have the concept phase and the detailed designer schematics, and then it gets sold to a bunch of different people. So your vision is going to be like the telephone game by the time it gets to live. That happens often. So in that idea, I'm sure everybody knows this. Chris, you can speak to this. Here's the Caribbean. So I used to use this as a game design teaching thing also. I'm going to switch sides for a second and go through the pictures. When I was working on metal on our PS1, we had a lot of technical restrictions. And one of the things that I did was once we got some other designer on board was, okay, stop. I want you to write a walkthrough full level of what the player is going to experience. But I want you to design it like Pirates of the Caribbean. The first ride through, you can't see everything. I want you to make sure that there's enough activity in the level that I want to come back and check it out again. But the way that this goes together in the same theories is the ride starts here. You know what you're walking into. You start getting expectations. You're seeing this outside, like New Orleans, where you start to get the feeling of what's going on. They start to, you know, the architecture changes. You go in and pour rock walls made out of fire glass, et cetera. And then this whole part is like level design. We're basically, and they filled this with things to look at and more, like I said, more than you can see in one shot. And then they made it a social experience. They gave people through one vote by themselves, right? Because they want you to talk to each other while you're on that ride. So the full experience is designed front to back. Doing this digitally is almost exactly the same. Almost exactly the same except that this happens. Menu screening, first hand shake, you know, product, whatever, like the crappy ads that you get while you're browsing Facebook. So I want to take you on a little bit of a journey here. And the journey is from the 1950s to mid-90s. And what happens between the 50s and the 90s, what happens between the 90s and, let's say, 2000 to 2010, 2010 to today. So we're going to take you on that little bit of a journey. So taking a way step back in time. I actually want to spend a little time having you guys read each one of these because it's kind of fascinating. So games entertainment and experiences from the 40s to the mid-90s. And, you know, obviously in the 50s is when we introduced some technology. In the 40s, you know, it's not part of the mass conversation. But certainly in the 50s that we've got IBM, we've got, you know, the beginnings of a blackjack program. But it's really Disneyland and TV happening in the 50s. So you're looking at this now through an entertainment lens. And what happens in the 60s? Within 10 years, Walt Disney dies. And it's 62 years old now. So 52 of those years, Walt hasn't been around. But yet the legacy is exponentially beyond as far as an experience. So in the 60s, and, you know, we're looking at the first, you know, computer-based video game, obviously landing on the moon. In the 70s, we're still in traditional games. But now we're obviously getting into all our case file. I certainly lived it. I'm a kid in the 60s. So I can attest many nights with all of my brothers in our case. And obviously going into the 80s with EA in its inception. And does anybody know the Power Glove? Does anyone see the Power Glove? There's a documentary that came out of the Power Glove. You haven't seen it. It came out last year. It's kind of funny. But Nintendo's attempt at user interaction and physical virtual and how do we have it, you know, on our person. So maybe a wearable, a first wearable IMAX camera in our case. Oh, that was 70s, sorry. 80s, you know, then moving into the, well, 80s, I don't know who had, oh, it was the 70s. What devices or what console devices did you guys have? If anybody had them in the 70s, would it be a television, Atari, Odyssey? Was all Atari in this room? No. Look at that. I think as the tell put it out on television, my parents were going to, they weren't going to buy a Atari, so they wouldn't have it on television. Anyway. You did television? Yeah. Oh, we got to play in the margins. Well, I'm sure of it. Anyway, the mid-90s, you know, so this is where I sort of drop in. I drop in mid-90s, and I'm thinking now, Animator, dropping in mid-90s into PSX, and I'm in a video game company, and what I'm supposed to learn is what it's nice to do, and everything that came around with first person shooters that I'm supposed to ramp up really quick. And, you know, the history of all of this were experiences I had with my brothers, but I have to say, the thing that hit hard in this era was interactive. So we're going to go from interactive to integrated to immersive. That's sort of where we're following. So right now we're in interactive entertainment. If you guys were part of this moment in time, every studio in LA wanted to be interactive, so everybody had an interactive division. And this is such a cheesy slide by a conference executive that was going on the feeling of it at the same time. So DreamWorks was funded by Paul Allen and Steven, David, and Jeffrey with the idea that Microsoft and Disney folks and NASA JPL guys were all sort of coming together to meet this new vision. And interactive, our division, which by the way wasn't animation, we were on the interactive side, was Steven Spielberg's sort of vision. I go 2D, I'm going to move into 3D, and obviously as a son who wants to be a game designer, and so DreamWorks Interactive was really one of these big four players at the time, but, you know, we had EA and Activision as our partners. So at the time, EA was games for gamers. They were not a portfolio company and hadn't bought up everybody yet, and really had a different message. And actually one of the funnier experiences that we had was I think we're on the cover of PC Gamer, or Game Once and I Don't Know, it was DreamWorks' great PR crap making games. And it was like, you know, edited by EA. It was like, what? How did that happen? But at this time, and this was such a unique era, and I'm noticing that these are seven-year eras that are happening. So in this period of time, or so, seven plus, it was a combination of all interactive, e-commerce, everybody trying to jump in on it. So this was our website at the time. This was our big website, and I sort of laughed at the navigation. They were so interactive. It was pretty awesome. Can you go back one slide? So two trivia points. The games that did the best for DreamWorks interactive were the ones where the kid didn't get killed in the first, or get molested or destroyed or something in the first thing. Really? Yeah. So if you go back and look at the games, you remember so at Jurassic Park, they ate the kid and he caught a dinosaur and all of the games that did the best and he didn't get chomped on. You mentioned... You mentioned these time cycles about six to seven years. Who knows Moore's Law? Does anybody know Moore's Law? Moore's Law. Every 18 months, you can be part of adults, right? But at this time, the PSX... So here, we did two things. One, consoles. What was important about consoles at the time was static hardware. Games at the end of the life cycle, consoles always get better because of the resources for everything they can. Which is why they only last five to seven years except for this last generation with Xbox. But game design and interactive design at least at the beginning edge like this is always chasing Moore's Law. You're always obsolete when you come out. You'll see those time cycles. It's actually important. It doubles every 18 months when you're four times as obsolete which means it's time to switch consoles or change your mind spectrum. One of the things that was great too about Dreamers Interactive is we were able to quote Seamus Blacklee from Microsoft who was the brains behind Flight Center and also Xbox. So we didn't really know when we were sitting on at the time with Xbox, but we were certainly sitting on game logic and physics or show modeling and everything else we put into Jurassic Park. And he had Bill Gates on the phone and Steven Spielberg walking into his office and I was like, God, it's not going to be about free, man. It's not going to be really bad. But it was a golden era. We were given a lot of money to take a lot of IP and go paint magic. And I have to say, that's what Chris was saying you just spend your whole career trying to get back to that moment in time because we've all learned and I have to say today with VR, AR and everything else we're sort of there in a different way which is super exciting. For those of us that sort of live this moment. So that was our home page. So these are three titles that both Chris and I worked on. I only worked on Metal of Water by having the best rat party ever for a team. I was so low on the totem pole back then as a local station producer. We got on the station on those lines. Oh, so this was my big idea. My big idea was when this team actually shipped that we would get them on the station on Atlantis to work for a day. So I don't even know how I came up with that idea but I came up with that idea and I fulfilled on it. I know. And I had to get so much clearance, like took six months to get clearance for everybody and there's some funny stories about the guy so there's an Easter egg in there for me about like best rat party ever. Anyway, so I personally was the associate producer on Typhoo which was a game about an ancient tiger waging his war through a tiger waging his war through ancient China playing different anthropological characters as he moves up to fight the dragon at the end. It's come from Canada before. Yeah, it's come from Canada. And then Chris, you came in on KSI and RTS for kids. Yeah, so Microsoft Activision, EA so, you know especially EA, it was all about the Bible, the game design document Bible. I mean, they knew it inside and out and it was up to us to learn it. DreamWorks, we were a new studio a Hollywood studio, so we got really hard to press a lot for not being gamers, true gamers, but now look at how the whole industry has shifted because back then if you were a visual effects or animator or somebody in Hollywood you would never think in a million years to work on a video game ever. That was so low rent and it's so funny to see the entire shift on how gaming and gamification of everything has sort of taken place but back in the day there was a lot on that which is funny now. I wrote a 500 plus page game design document for Medal of Honor which I'll never do again. Actually I've never had since. It's a dream? I wish I could I'd hate to see like an engine mission into EA and like double the archives and like print it. So yeah, so EA bought DreamWorks Interactive, but then the team for Medal of Honor spun into Spark Unlimited and Spark Unlimited I think did the deal do with acquisition? Yeah, also on the 2015 the guys that did Medal of Honor which was PC spun off at the Infinity Ward which you'll all recognize as the guys who did Call of Duty. Medal of Honor above and beyond the Call of Duty. It's all the same. Yeah, so I don't think our team knew back then that we were building a AAA title that was going to have a 20-year legacy that was going to be on the every bus going down Santa Monica Boulevard everywhere in LA and being in the consciousness as a first person shooter of World War II game. We had a lot of noise also about the original recipients of the Medal of Honor who actually took issue with this game at first, which was a big thing. You remember when Stephen and Peter actually had to go? I can tell you exactly what happened with Columbine. Yes, Columbine had just happened and that was the biggest issue. You knew that we were, when you talk about a successful game, a fulfilling game and you hit it at a time of market when you can't expect the unexpected. It's actually a good segue to the outside world influencing your game because we ended up with a better product because of combat. Because we made it not about the two biggest violence, we made it about, you know, putting in a good fight, there was a pathology that you could lean in on. There was no blood, so it could be it wasn't about that kind of violence. What ended up happening is it forced us to creatively think around how do we continue to make the game engaging and part of that was the animation system, the animation trees to deal with his life flower and all that stuff. And so, because what was the main consideration, what's the audience want, they're probably not going to want like a lot of guts, you know, or to John Wayne style you know, over a two-shooter on their PlayStation, which everybody thinks, right, at least at that time thought it's for kids, right. So, yes, there was outside pressure, nobody admitted it at the time that combat had an effect, but it actually ended up having a really good effect on the product and it helped us elevate it above just building my over two. So the only other thing I'll say about this slide is, so I was localizing these products broad, this is in the UK localizing typhoo and I have to tell you when you talk about story and people will eat this from marketing lens. So we've both been on the product side, our entire career, not on the marketing side, but marketing is either have sell on you off the river because you're like, hell, we can't even deliver that by the time you need it, or be, you're actually now like, this wasn't my intent, marketing just has a whole vision. So the wrath of the tiger in the United States, I'm in either Germany or in London, no, actually, you know what? I know exactly what I was, this is hilarious. Activision decided not to go to E3 that year and they did something called Activate in 98 in Ireland. They took over a castle and every product that they had, they made the characters come to life in the castle for a weekend. So everybody got tickets to go to this castle for the weekend, some about to stay in the castle, others were there during the day doing, you know, our product show and tell. And so I was showing this, doing a level and everybody's laughing and I turn around and open my head and says, Typhoo, who are you calling pussy? And I was like, am I the only girl in this whole room with this sign on my head right now? Like, doing this game? I can't even believe it. So nobody had told me this. So PR, abroad, localizing all these products did not speak to the U.S. on how they were selling these games. So they thought it was better to sell to turn, you know, so some other games that we did, IP board, for our movie Small Soldiers, Dilbert, desktop toys over the games. That was, that was classic a jargonator that Dilbert had. I don't know if you're going to look over. Yeah, it was super fun. And then goosebumps from the license. So these were Microsoft, NEA I can't even say these were successes, but this was just part of our portfolio and me having to translate some of this into foreign languages was always a challenge. So Jurassic Park I will say a few things about this. One is I mentioned before that Seamus Park, who had done Flight Sim, was doing, he had three or four Jurassic Park, he had three Jurassic Park games. We had The Kids, Nails Island, we had Trespasser, which was what Seamus was doing in PC and then we had Patrick Gilmour's Lost World, Jurassic Park. So we had the time. So localizing that product into Germany, they wouldn't allow any blood. So it's part of the history of Germany, the video games they weren't allowing any kind of blood or blood that could be red. So now Jurassic Park in Germany has that green, spewing green, alien green and all of the games which is like, come on. So those localization rules actually are part of the initial seed for why zombies are so popular in games because zombies became the substitution. So substituting zombies for Germany is the side effect of Texas. And then actually shipping the game into Japan was no, no, no, we don't want to play we don't want to play the T-Rex at the end. We want to play the T-Rex first level. You need to redesign the entire game and then once we know we're strong enough to take the T-Rex on we'll play all the other small characters. So that was a complete redesign and then that game got re-imported back to the U.S. with actually a better success rate than it did when we originally made it. So you never know when you're looking at the progress from a product management lens. But the point to all of this is so our brands move off the screen and now into arcades. And after this comes game work. So we're now theme park development doing David Buster style games and so DreamWorks is looking at what your experiences. So we're all challenging that same space at the time. And mind you at this time, and I'll talk a little bit about the number of, between 19, well up to 2001, between 95 and 2001 Disney, California, Adventure Universal. Every big theme park is building now and opening their doors. So all of this competition about taking your brand into a theme experience and you know I'm constantly thinking about this from a PM's point of view. What does this look like and what decisions do you have to make and your brand is going through all of this. So Doug's an apple so Clayman. So I actually, he gave me the original Clayman. But this was an entire set made out of clay like the size of this room. But they actually went and did stop motion and filmed this entire video game. And that it was so advanced at the time, even though it looks so rudimentary, it was an arcade style type game, originally but the never good. The art of it was the physicality of the art was, this is so amazing having somebody on the ground floor with it was like you can touch, you can feel it and it was so fascinating to see that everybody shouldn't have been behind the scene. So if you look up Doug's an apple and look at some of the movies he has from original Claymation it's pretty awesome. So we also did lookies and Doug's been a creative genius since then. I don't know if you didn't work on anything. So when I localize this in Japan Clayman does this. So apparently I know this in Japan, this is like F off and he does this throughout the entire game and we were met with they were looking at this like, what are you doing? How would you even think to bring this into Japan? Like everybody was like what? What's wrong? Well the main character is basically flipping off everybody in every scene. So I don't know if you want to take this off but we just finished now. So like coming out of that era it's interesting we all talked about convergence at that time and what's interesting here in the district is there's two things. One, like agile didn't exist so everything was done waterfall and it was brute force and at that time we talked a lot about actually I called it the meat wall right? Like Yee could employ the meat wall they would just throw money and meat at problems to ship them on time or on the board. But that's part of something that's going on here at this time which was how do we do more product faster and across different media. So this convergence console, PC video games and movies movies and TV it was all starting to do this and we all were talking about trans media companies at that time. Basically squeezing more from a single IP but the difference between trans media and the next slide was basically what did I say? Multiple products, different assets so engaging multiple studios to create multiple products and then keep them all in line not like the Marvel Cinematic Universe is now where it's all like a hub and you send it out it's more like people doing different having different work requirements and different audience outputs with the same IP and we all stumbled through that terribly at that time because the fidelity on well, more than what it was we finally got computers powerful enough to use essentially the same assets which we'll touch on later. So Blue Ray came out this era this is Xbox coming out in this era I mean in some ways it's a dark period it's just about going to obviously the darkest of all and I don't know who remembers what and where you were during these years but if you lived through this it sucked 100 ways and the irony here is here's the shift, experience design now UX is finally getting it's say, it's finally getting it's name in the room and UX is quietly getting where it is between 2010 and today in this next seven year cycle all of this, well everything's integrated but it's the next slide but everything is becoming integrated now so it's integrated everything and the point being it's now no longer a barrier to go to multiple screens that's actually inspected and it's usually with the same set of planning on finding your assets ahead of time so that they can be multi-use but the philosophy should be quite a bit but the game in that state is the same I'll come to that but this is the point and everything became integrated and this is current to today so if you really look at this whole list and as I was writing this slide out myself I was like Jesus I have worked on a project that had to deal with every single one of these at all times and for you it was the apps that changed everything on the game side and in 2009 2010 the Apple App Store at Expo right and then Android etc so the democratizing of game examples at least in relation to gaming so apps came out of that too but for my field it's all about games so the barrier of entry was reduced to almost nothing and the method of discovery completely changed which totally just completely challenged the AAA stranglehold that all the big studios had which makes gaming is not even more important to have some inkling of understanding at this point in time for all of you moving forward but the things that I pick off this board almost instantly are data visualization because earlier I remember what I said if you can score it you can game it and if it's an activity that you can figure out how to score you can game it so I look at data totally different than everybody else I work at Nexon for a while which is a Korean free play company you know it's like that scene in a matrix with a dude looking at the code and he says he starts calling out what people are that's like I can tell you things about game players at Nexon that are actually encroaching or treating I can tell you their age where they are when they're going to spend money next when's the right time to hit them with a sale all of that but then it gets really really dark when you combine that with a game designer who knows how to like tap the emotional right because then then you know how to actually you know to get paid on schedule but we avoided that or at least we were trying to avoid that because it gets the question alright the project you guys are working on relative to anything up here can I just get a show of hands of is anything that you're currently working on relative to anything that's on this board anything missing you fixed it on that to today virtual and augmented relative should be there say it again yeah yeah yeah we're coming to that next and the only reason why I didn't put it on there 2000 well yes and we'll discuss that next and it's really because I know we're all in the developer years right now and there's overlap to all of this and the big chunk feels right now in this everybody, if you go to any companies everybody's looking at solutions that are all around this I want a data solution, I want a location based solution I want a gamified solution, a mobile, an app, a social I want a responsive, I want a projection mapping our IOT and everything's going to talk and now people are just talking about VR and AR except it's not quite market yet so who really is using it and we'll get to that so you're 100% right and I deliberately kept it separate and I was struggling with it but it makes a little sense because 2020 feels like a tipping point for that for a lot of folks so perfect timing we covered interactive, we covered integrated and integrated was just that seven year period with those two so that one slide and so now we're in immersive so today to the future I don't know how much time do we have Katie? I'm not sure yet including Q&A so let me take this feature for a second because this is never going to happen people will put a toaster on their face it's one of the barriers to VR right now once again we come back to much taking the human experience into account and it's like you can't put it on fast you can't move it quick it's not instant it's not right away and it's a toaster so I was at that AT&T shape event I don't know if anybody was there but it was a couple months ago and were you lucky enough to get into Catherine Bigelow and what she did? I watched it from the other room oh you did? okay so I was in the room so Catherine Bigelow she did the hurt locker she had a six minute video on the Congo on element poaching and the Rangers that are spending their life duty and honor trying to make sure and mitigate this poaching doesn't happen so she did a VR experience AT&T and Samsung got involved and they wanted to do the first 500 persons sit down same time this exact thing which we all did so you sat down with a plastic bag next to your foot and you were instructed like militantly from AT&T how exactly to do this entire process which you know is totally like you're just like oh it's gonna be a disaster and the irony is everybody got their gear on once they should have just said just push this button but they went into how to actually tighten on your head how to control the volume how to so you know like half the audience you're about to all have an experience all at the same time and it's like disaster so but they had a team and a staff to go out and help everybody in the audience that didn't get to like you know press play all at the same time and the irony of that is you got somebody next to you telling somebody what to do who can't understand and your entire experience is so messed up and you're watching like violent element poaching how was it the other room by the way I mean it was just like a big screen and we just watched what they were showing us but it wasn't that interesting but it wasn't much simpler yeah totally and the whole idea is you know you haven't heard this once twice or a thousand times the empathy machine and VR is all about empathy and you know what you feel so actually wait how many people have experienced VR so my Oculus was touch or okay so the sense of presence is amazing I don't want to be there having a sense of presence with whatever is going on on my toaster face with all of you in the room so regardless of what they're going to activity it's not a social experience and that's why I say this will never happen I actually already did have it we'll never get a picture we'll never get like a mass market audience sitting in a room putting toasters on their faces all having the same experiences although some time years ago when I left Disney went out of my own and I was right at the recession I was trying to sell experiences that should be group experiences and I went to Sony and I said at this point in time you should be able to take your handheld device and you should be able to have three movie experiences like 300 people in a month those like in gaming and I understood it and it was like no one's ever going to do this nobody's going to champion in house society much less what really is the end game but there was a time play interactive that did this in Vegas so what they did is they actually put it in the seats you were at the Venetian hotel you bought a $75 ticket and you could play poker with a professional poker player who's on the stage playing someone else professionally you were in the audience playing them and if you actually won and there was some kind of watering system built in you could actually go down on stage and play poker in a way that you would never get access and it didn't live very long at the hardware in the seats but I do remember that was the closest thing at the time that was happening it was kind of cool as an out charge when you pay $75 you have to get our poker player and really love that so who has dragged Hill Brush and all of you VR expertise okay so having been a painter and muralist, Hill Brush is to me one of the better and classic examples of how to get into VR and use VR in an imaginative way so if you're not using live action shooting live action and you're not doing CG rendering and you're not creating your experience in VR, Hill Brush is an amazing phenomenon and also Epic Games has Ghost Paint I think which is more graffiti which was at SeaDraft this last year which was fantastic too so and who are the world of immersive so does everybody know what all the Rs are so VR, AR, MR virtual, augmented and mixed are our real reality we're going to actually go far left or far right and then extended reality so well it was a little bit of like let's look to spectrum and let's come in at it so you know in the projects I work on I'm currently working on an AR project and at the end for Q&A that I can show to you it's Spatial Mapping Guided Pathways for the Blind so it's a super cool project and we're currently in product dev but in the same vein you can say it's mixed reality for how you can enhance the space depending on your visual impairment so we can grow in this but it's currently slated for it was built on the HoloLens it was actually built on the HoloLens emulator but where this could go we could be looking at this entire arc of possibility so one of the biggest things in being in entertainment right now to sell some of these big pitches is pre-vis or pitches even so pre-visualization in Hollywood using VR is super common does anybody have an experience with that so a lot of big budgets can be tested and being risk-aversive will test in pre-vis before they spend all of their money and it's helpful for the actors it's helpful for obviously the directors and everybody else above the line but pitched is sort of the new thing and when you're pitching projects where a concept phase that's phase one of 12 phases is $500,000 you know that the client wants what that could be and since all of these tools are available right now I spend my life busy people to spend $20,000 in pitch visualization before we lose the $500,000 because we couldn't show it so this is a new area on the pitch side pre-vis like proof in Hollywood and a bunch of other folks you know this is their day-to-day on bread and butter so VR hasn't penetrated because it's important to get I think a lot of people safely say yes, we're in the developer years and 2020 might make that shift 2021-22 so again we're going to look at a seven-year cycle again I'm sure and what this evolves to so in this immersive environment I've picked what I think are the subjects to watch in immersive entertainment, gaming but also life and I can't have this conversation without talking about virtual currency virtual goods and Chris and I were back before because I said well Warcraft did it first but that's not true I'm splitting characters but basically Warcraft is the one everybody's going to know the thing is there's a fully working virtual economy going on in Warcraft but it's trivialized because it's a game you don't think about it that way but if you go on eBay right now I guarantee you can find some great shit interacting outside of the game does anybody know about Chinese Gold Farms? okay so Warcraft this virtual economy that happened in here spawned all of these real economy pieces and the most powerful currencies are the ones that can be um I'm going to say the word converted but um they have the most converted so basically they can be converted into other things that's why the dollar is still so powerful because it can be converted to almost anything but then without Warcraft and Second Life and old online and the exploration of some virtual worlds and virtual economies there wouldn't be the idea of having Bitcoin right not only that people wouldn't be adopting Bitcoin without having first been trained in games to accept that these bits and bytes are real in some way we're connected back to the outside world so I don't know if you saw this about six days ago so deep minds go playing AI doesn't need humans help anymore to beat doesn't need human help to beat us anymore so this idea of this mass super intelligence that's happening and of course singularity and where we're going with machine learning AI robotics I just came before I came here I was at the community consulates tech innovation round table and I was asked to be a mentor for pitches and it was all females that were pitching all new startups and all of them were in the vein of all these immersive technologies so the woman that pitched AI to me which she said was our bots get paid that was her opening line which the whole entire pitch I was waiting to see a visual of a bot getting paid I was like what does that look like is that like an avatar that you can see a dashboard getting paid well it's busy super computing everything in the world I was like what does that look like so you need to gamify that so she never got to it the whole deck was all about the data and everything that it does but I was still stuck on that idea but it was so in line with these are new startups and what's the visual for that so we can even understand and comprehend the depth of what all of this super connectivity and mass computing is doing so between PR, MR, XR, RR Bitcoin, cryptocurrencies virtual goods and machine learning AI and robotics it begs a really big question which is what's the next 25 years going to look like and we're sitting in this exponential growth you want to take a look here before I go over the five ways how it is so obvious to me right now this was from Peter and DMM this is both books abundance and bold it just you know I added a couple things there but that's the net net so the only thing that I can confirm here is that your attention is going to be split you know you would and without so game design isn't actually having the right way to do something at all times it's actually a set of problems and it's not on a slide here but I've got like we're working on a couple of things up here there's no way to do three things I teach all my students but you need some way to organize a new technology coming into your design skills or your product in a way that's going to be that's going to integrate well and it's really easy to jump onto new technology oh my god this is going to be a thing we're going to make it all about this and you go there and then you forget the most important thing which is users or players how they're going to connect with your project etc and so that's that's where I'll wrap this up at the end with some game design stuff that's all bullshit so so you've probably seen this it's a crappy slide but it says a lot which is everybody's current investment in where we're going next so the next 25 years are going to be ridiculously exponential with all of those technologies of machine learning AI, robotics, VR, AR, cryptocurrencies so I was about a month ago I met a gentleman named David Lee who was the head of the open innovation network in Shenzhen and the Shenzhen speed is what, is everybody familiar here about Shenzhen in China and this newly built city from 39 years ago in the intent of the city I just learned this myself so Shenzhen in China is it the master plans community where you can walk everywhere? yes it's a combination of that and just the innovation owns 80% of the manufacturing of every technology that we use and this was a designated city in China 39 years ago I could be bastardizing some of this story but other than that it was like 39 years ago we're going to deem this town the new innovation city and this generation of sort of cultural growing up in cultural exchange they're going to fill you know throw so much money at the speed of what Shenzhen can turn stuff around so if you take a product to the UK take a product to the US take a product to Shenzhen Shenzhen will win every time and it does not mean quality lacks it's quality and speed and innovation it's sort of a dream come true they're totally like you know it's a dream come true for me in a lot of ways what's possible when it's all golf courses so David Lee who's the director of the open Shenzhen innovation lab we're currently mapping every inch of the ocean floor and the reason why it's germane and this whole talk is germane is like so we've mapped the entire floor we can change the weather we know everything about what's technically here and now we're giving up AI to super computing and we're going to have some singularity that's happening, some technological singularity with this knowing of this AI and it's all game fine and here are all the players well here let's figure out what somewhere else looks like so this space race is so real and you know you read about it and you're like okay all these people are investing all this money in the space race I don't know if you want to jump on for these slides but it's no joke so those are all the folks investing money that have super powerful companies sitting behind them on the experience design side I got a call I don't know maybe six or eight months ago about Mars world I was like is this a theme park this is a bunch of NASA guys who have been on this for 35-40 years who are about beta testing colonization and they're doing it in a theme park environment and so are all these other folks and if you look any of these HP and NVIDIA showcased a whole beta test for the future of farming and robotics and how you live in zero gravity and how real is this so it's really no joke and I kind of look at this like well this is all we call games, isn't it is there anything that we've been doing for the last 22 years in games that has affected everything and so now it's life yeah it's really nourishing for me a lot of the things that I thought were secrets of game designer are actually exposing themselves in lots of strange ways but I think the thought process through it is it's important to take into account that it doesn't happen automatically or you should question every pattern every design pattern every design pattern is a question so I think in essence this is our last slide but this is sort of the point bringing it all together is we're in real life real life is gamified we're in a mixed reality environment what's real what's not everybody's trying to design it for engagement is engagement fulfilling we care about it what does that mean to not our kids but our kids kids because that's really where the impact's going to be so you get that I think it's thank you