Streamline Spotlight: Sabine Ong, Project Manager for Streamline Studios

Welcome to Streamline Media Group’s ongoing blog series where we interview a Streamliner from one of SMG’s business divisions.

I spoke with Sabine Ong, a project manager at Streamline Studios (SLS), to discuss what exactly a project manager does, especially for a studio such as Streamline Studios.

Streamline Studios is Streamline Media Group’s business division that covers a multitude of aspects of games development, from pre-production to post-production, and everything in-between. Since its founding in 2001, SLS has worked with international clients of all sizes to help them achieve their vision and accomplish their game dev goals.

 

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Can you please introduce yourself and your role in Streamline Studios?

Hey there! I’m Sabine, a project manager here at Streamline Studios. I have always loved video games and film since a young age so it’s a privilege to have been given the chance to work here.

 

How long have you been in this role? Approximately how many projects do you estimate you have worked on since becoming a project manager?

I’ve been here for a little over two years now and have worked on approximately fourteen-to-sixteen projects. Some projects are long-term while some can be as short as a month. In fact, there’s a project that I’ve worked on since I joined and it’s still ongoing!

 

Prior to becoming a project manager, did you have any other roles at Streamline Studios?

Nope, this is my first role in Streamline Studios or even in the video games industry.

 

What does a project manager do? What are your day-to-day responsibilities?

We do many things! Ultimately our goal is to make sure that the projects run as smoothly as possible on all fronts. Some examples are making sure that information is being communicated to and from all parties involved, keeping tasks on schedule or rescheduling if necessary, making sure the team has the hardware or software they need, and troubleshooting. We’re the bridge that connects and facilitates everyone in the whole process.

On top of all that, we’re working with teams that are made up of complex individuals in many different roles. We’re very entrenched with running the company so we also get involved with reviews, promotions, acclimatizing new employees, and even performance issues.

 

What tools and software do you use on a regular basis?

Here at Streamline, Streamframe is our go-to project management tool. We use it every day to keep track of all progress and communicate within the organization. It really helps that we have a central tool considering the number of projects we work on.

Other software we mainly use to help with our work is Microsoft Office: Excel, Word, and PowerPoint. We do occasionally use other tools which are project dependent and based on what the clients need.

 

What are some of the skills that are needed to be a good project manager?

The most important skills are people and communication skills. We’re constantly having to interact with all kinds of people across different languages, cultures, and regions. It’s important that we know how to listen, to communicate, and to relate to others, from clients to artists to managers on a professional level. We also need to effectively convey vision, ideas, goals, and issues as well as produce reports and presentations.

Other essential skills would be leadership, time management, planning skills, negotiation, risk management, and subject matter expertise.

The most important skills are people and communication skills.

 

 

How is the role of a project manager different when working for a studio that does co-development?

We have multiple projects and shorter timeframes. We tend to be involved with several projects at any one time so keeping a cool head is important. The pace at which we work also greatly differs; some things are more urgent and need to go at a faster speed. Because of that changes happen very often, we have to be constantly on our feet and adapt quickly to the changes that happen. This means we gain experience faster by going through more project cycles.

We also have better insight into the market as we work with multiple clients. We can see what they are doing and how different each company manages their projects. This gives us the opportunity to take the things that work for us and implement it into our own workflows.

 

How does your role change throughout a project, from pre-production to production, to wrapping up a project and submitting the final assets to the client?

I’d say that differs with the working style of each project manager. For me, I like to get my hands dirty and get involved with the team in the pre-production and production phases. I love to collaborate with the art director, leads, and artists on the creative process figuring out new ideas or techniques to solve the needs of our clients. Everyone involved can have great ideas so it’s up to us to facilitate that and ensure we’re all contributing to make it better.

Nearing the end of a project, we must ensure that everything has been delivered to the client, so we’ll need to facilitate the submission process. You could say that we’re a collector at this point as we gather all the work that has been done, whether it be documentation or source files, and deliver it to the client. At the same time, we would have to work on finalizing various reports and analyzing the results. It’s the time when we can look back to see what went right, what went wrong and how we can improve for the next round. Think of it as a kaizen process where we are always continuously learning and improving.

[Editor’s note: Kaizen is a Japanese word for “improvement.” In business terms, it refers to the practice of continually improving one’s business processes.]

 

What have you learned about being a project manager?

The key is communication. We often say that this is important but it’s also the hardest thing to do or make happen on all levels. It is the thing that drives the work and makes sure things are running smoothly. Whenever a breakdown happens, a problem tends to pop up and time is needed to fix it. One must have lots of endurance and discipline to avoid that as much as possible.

Another thing would be that to it’s okay to make mistakes. To err is human but it’s more about how we turn things around and do better. If we make a mistake, we should own up to it and avoid excuses or lay blame. We deal with the facts, see what can be done to avoid this happening again or to mitigate it as much as possible, and move forward.

 

Are you working on any projects that you can talk about publicly? If so, can you elaborate on what those projects are, and when we can expect to hear more about them?

Unfortunately, not now. Most projects I’m involved in are in the pre-production phases, so it’ll take a few years before I can even talk about them. But I can say I have worked with clients from all over the world like Japan, USA, and China, so that’s what’s exciting!

 

What’s the best part about being a project manager at Streamline Studios?

The diversity. Diverse cultures, people, and projects. I’ve worked with many people across different cultures and many different projects in scale and genres. There’s never a dull moment!

 

Anything else you would like to add?

It all sounds rather stressful, but I want to say that it’s been a very rewarding experience working here as a project manager. All the blood, sweat, and tears are worth it when I see what the team here at Streamline has constantly achieved and continues to strive for.

 

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Special thanks to Sabine Ong for her insight on being a project manager for Streamline Studios.

Sabine is just one of the many experienced creative team members at Streamline Studios who dedicate themselves to helping bring their clients’ projects to completion.

If you’re interested in knowing more or would like to work with Streamline Studios, please reach out to us -- and we are hiring!


Streamline Media Group Attends Level Up KL 2018

Video Games: Beyond Interactive Entertainment

Level Up KL 2018 started out with a keynote by Michael Mumbauer, Senior Director of Visual Arts for PlayStation. Mumbauer is a twenty-year veteran of both film and games, working across properties such as The Polar Express, Monster House, Uncharted 4, God of War, and The Last of Us, specializing in performance capture and creating digital characters.

Mumbauer reminded us that every ten years, game development costs increase ten-fold. By 2020, the typical AAA game will run an estimated cost of $200-250 million USD.

Mumbauer also spoke on the importance of visual production, the idea that in the very near-future, movies will be made in-engine, utilizing game engine development tools. The goal is a real-time set rendering of environments and props, as well as real-time facial capture. If this can be accomplished, the cost and time to create will be reduced.

However, the technology is not quite there yet. Compatibility issues prevent assets from easily being shared across different engines. The base technology is not quite powerful enough, fast enough, or affordable enough to pull off real-time rendering.

He concluded by positioning that, Malaysia, with its young talent and resources, could be ripe for the future of visual production. His argument was that game developers would become experts and specialists in the visual production field, and that film production could utilize their specialized talents.

 

Exhibiting Nightstream

From the Streamline Game’s side, SLG was out promoting Nightstream, both in a shared booth with MyGameOn, as well as a table on the exhibit room floor. Streamline Games was also passing out physical copies of issue number one of the Nightstream comic, which was also designed and printed in-house. Some of the same Streamline Games artists that worked on Nightstream (Kelly Tan, Lynette Wong, Ahmad Hilmi, Sai Foo) also created the comic – everything from penciling to lettering and inking and coloring.

 

Surviving the games industry

Given the fact that Malaysia’s game industry skews on the younger side, it makes sense they would want to advise and mentor their talent. Given the state of the games industry in 2018, and how many of its employees have been treated, surviving the games industry has become a contentious topic.

David Lam, Senior Producer of External Content at Turn 10, gave advice on how to not only survive the industry but manage to thrive in it, based on his experience of almost twenty years in the industry.

The usual developer skills were recommended, such as curiosity, a determined work ethic, and adaptability, but Lam also mentioned the importance of soft skills such as social skills.

He also discussed the stages of a games industry career: being happy to be there, grinding it out, becoming a leader or a specialist, impacting through scope and influence, and giving and receiving.

The remainder of his talk was on choosing and prioritizing a work/life balance. He emphasized the importance of choosing your boss, seeing every new job as an opportunity to reinvent yourself, observing your team’s culture, and realizing that you have a choice to choose the life you want to live.

 

Streamline Games showcases multiple projects

 

“AAA is a moving target. It is always ambitious.”

- Stefan Baier, General Manager, Streamline Games

 

Outside of the Nightstream team, Streamline Games was represented by General Manager Stefan Baier, who presented his talk, “AAA Development in Southeast Asia.” The emphasis was on the rising middle class in the SEA region, with the majority of the world’s middle-class coming from the Asia-Pacific region within the next ten years.

Stefan Baier, General Manager of Streamline Games

SLG also touched on a couple upcoming projects: Bake & Switch, a game tentatively scheduled for 2019, and Unbound Oceans, a much bigger, more ambitious project that is still a few years away. Bake & Switch is a local multiplayer game for the Nintendo Switch.

Unbound Oceans is the other end of the spectrum: a big Unreal Engine sci-fi first-person shooter, which has the player dropping from their ship into different levels, completing objectives, and coming back to their ship for potential upgrades and new assignments, either alone or in co-op mode. This was SLG’s first public showing of Unbound Oceans, although they have been chronicling its development on their blog.

Unbound Oceans

In between Bake & Switch and Unbound Oceans, SLG spoke of doing additional smaller games, with the goal of shipping one game a year. They didn’t have anything specific planned to come out in between Bake & Switch and Unbound Oceans, but mentioned that internal teams will experiment and move forward with the best idea. It seems to be a shift in thinking on how SLG does internal development of their own IPs.

SLG briefly teased a clip of Hyde as well, a very early third-person action game set in the Victorian era, showing off some early transformation animations. Hyde hasn’t officially been announced, so this teaser was the first time it was shown to the public. There was no further word on when Hyde would officially be unveiled, but it seems to be a few years off.

 

Larian’s road to success

Divinity series creator Larian Studios was represented by Spencer Low, a local Malaysian who now works overseas as Larian’s Business Development Director.  Low presented, “Creators of the Divinity series – the Ups and Downs of an RPG Studio.” It was a talk that spoke of the studio’s problems in the past with publishers, which lead to a long stint of work-for-hire and educational game development for Larian, all in an effort to survive. Eventually, they were able to pull off Divinity: Original Sin, which was successful enough to lead to Divinity: Original Sin II. Now Larian employs 160 people spread across four studios in multiple time zones. Between the original Belgium studio and the other studios in Russia, Ireland, and Canada, Larian works around the clock, with only three-to-four hours of downtime a day.

 

Japan’s console journey

Soleil Ltd. President and CEO Yoshifuru Okamoto presented, “Console Developers in Japan: Now and the Future,” which was a candid look at Japan’s rise to dominance as the epicenter of video game development, prior to their fall to grace during the Xbox 360 and the PS3 era of development. While Okamoto mentioned that the PS3 while notoriously difficult to develop games for, he also acknowledged the many failures of the Japanese games industry during the era.

Mr Yoshifuru Okamoto at MyGameOn live streaming session
Mr Yoshifuru Okamoto (first from right) at MyGameOn live streaming session

While the western approach to game development was sharing knowledge and tools, Japan had a far stauncher, more conservative approach to game development. Unity and Unreal weren’t common tools, so most games had their own custom engines built. Events like the Game Developers Conference were pretty much non-existent in Japan, so knowledge was not easily shared. Poaching was a fear for many companies, so developers were often credited under pseudonyms, meaning that talent often went unrecognized. And when the HD generation brought a demand for more realism to games, Japan was still more comfortable with an art style based on Japanese animation and manga.

Other issues brought up was Japan’s lack of English skills, as well as every company having different development processes and strategies.

As a result, many in Japan’s games industry pivoted to developing games for smartphones.  This was bolstered by the fact that the Japanese often face very long public transit commutes to and from work each day.

 

“We worked with local company Streamline Studios, one of our biggest assets.”

- Yoshifuru Okamoto, President and CEO, Soleil Ltd.

 

Okamoto concluded his talk by mentioning that Japan had not given up on console development and noted that recent titles such as Dark Souls, Nioh, NieR: Automata, and Yakuza proved to be popular overseas. For Okamoto, a developer whose experience is based in console action and adventure games (his previous credits include games such as Monster Farm / Monster Rancher, Dead or Alive 4, Ninja Gaiden 1 and 2, and Devil’s Third, as well as the newly released Naruto to Boruto: Shinobi Striker), this was obviously a point of pride.

Soleil was founded in 2008, in the midst of Japan’s casual game craze. Yet, Soleil focused on high-end game development and learning the Unreal Engine, and developing the skills needed for console game development. As a result, they feel confident in their ability to develop online action games.

Okamoto believes the era of 100% internal development inside Japan is over. While Japan has an aging population, Southeast Asia as a much younger population. Due to SEA’s English proficiency, as well as high education standards, he believes SEA is not only a key market for potential consumers, but also for finding talent. Malaysia, being a central hub of SEA, is a convenient location. And Malaysians enjoy and are familiar with not only western media content but eastern media from countries such as Japan and Korea. Okamoto mentioned that reasons such as these have led to Soleil working with Malaysia’s Streamline Media Group.

 

SEA Game Awards

The annual SEA Game Awards occurred at the end of Level Up KL like they do every year. Our division Streamline Games soft-launched their mobile runner Nightstream earlier this year in Malaysia. Nightstream was nominated as a finalist for three categories at the SEA Game Awards: Best Innovation, Best Game Design, and Best Technology, and came home a winner for the Best Technology Award, which recognizes the overall technical quality of a game, such as graphics programming, artificial intelligence, and networking. Streamline Media Group is very proud of the Streamline Games team and their success.

Nightstream wins Best Technology award!

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Overall, Level Up KL continues to grow and attract talent from around the world. At the closing remarks, it was announced that over a 1,000 people attended this year’s event, which is up from about 800 last year. Guest speakers from major companies continue to be attracted to the event, whether it’s conducting a Unity workshop, speaking on the potential of the SEA gaming market, or enabling new business connections.

Next year’s event dates have already been set, so mark your calendars: Level Up KL 2019 is set for November 2-6th.

Level up kl 2018

 


Streamline Games’ Nightstream Wins Big at SEA Game Awards!

Streamline Games’ free-to-play next-gen runner, Nightstream, has won big at the Southeast Asia Game Awards!

Nightstream won the Best Technology Award, which recognizes the overall excellence of technology in a game. It is awarded to the game that best uses advanced technologies, multiplayer and graphics programming, networking, and artificial intelligence.

In addition to winning the Best Technology Award, Nightstream was also nominated for the Best Game Design and Best Innovation Awards. The Best Game Design Award recognizes the best overall design quality of a game, including gameplay mechanics, level design, and balance. The Best Innovation Award recognizes the innovation of a game and how it pushes the boundaries of the medium.

The SEA Game Awards are held annually during Level Up KL, Malaysia’s premiere gaming event. In total, over 104 games were submitted to the awards, from across the Southeast Asia region. From the 104 submitted games, only 40 were short-listed for the awards. And for each category, only four games were nominated as finalists.

Congratulations to the Streamline Games team!

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If you haven’t tried Nightstream yet, now is the perfect time. The free-to-play game is available in Malaysia on both the iOS and Google Play app stores.

Download Nightstream on iOS: https://apple.co/2QuKLyy
Download Nightstream on Android: http://bit.ly/2p8EXhJ


Designing Zara: Creating a Character Steeped in Personality

Welcome to Streamline Media Group’s ongoing blog series where we interview a Streamliner from one of SMG’s business divisions. Recently, Streamline Games, a business division of Streamline Media Group, soft-launched their newest game, Nightstream, in Malaysia.

Streamline Games is based in Kuala Lumpur, Malaysia, in the heart of Southeast Asia. For the initial launch, it was important for the team to represent Malaysia and its cultural identity – including the different faces of Malaysia.

We spoke with Lynette Wong from Streamline Games about her work on Nightstream, how the design of one of Nightstream’s more prominent characters, Zara, came to be, and what the reception to her has been like.

 

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Can you introduce yourself and your role on Nightstream?

I’m Lynette Wong, a 2D artist in Streamline Games. I concept characters and am a story writer on Nightstream.

 

What is Nightstream?

Nightstream is a runner mobile game set in the world of Persepolis. It’s a game like Temple Run and Subway Surfer, but the difference being you’re not running on your feet, instead, you’re on a hoverboard with full freeform movement.

 

Can you tell us about Zara? How would you describe her and her personality?

Zara is an uprising musician who is haunted by the death of her younger brother. She’s the sort of person who seeks justice. She’ll do everything in her power to protect her family and friends. She has a serious, cool and collected front, but to anyone who’s close to her, she’s a total goof. Oh, and she’s also a part-time barista.

 

How long did it take to finalize Zara’s design, from concept to finished design?

It took about a couple of weeks, maybe a month. Design wise it was me, with inputs from the art director. Story-wise, there was at least seven to eight of us.

 

What rules and guidelines did you have in place for designing Zara?

From the get-go because of religious reasons, her design had to be modest. But at the same time, it had to evoke a fresh, modernized, sci-fi feel fitting into the world of Nightstream. Since she had to cover up most of her body with clothing, I took some inspiration from Nike Pro’s hijab campaign. I tried to be sensible about the amount of clothing she wore since our characters wear active wear.  I couldn’t pile clothing on her since she’d be riding a hoverboard and basically be moving a lot.

We had to make sure the back was also interesting since the player would mainly be viewing the character from the back most of the time.

 

“Audiences feel more connected to characters when they have flaws. Otherwise, she’d just be a fantasy with no characteristics. There aren’t many characters in current media that look like Zara.”

 

What was your workflow for designing Zara?

In the beginning, we didn’t know if our character was going to be male or female. Once we decided on her gender we started working on her backstory. It’s important to know who she is first to be able to successfully translate that into the design. Once we had that down, I did a ton of research on real-life fashion and active wear. I came up with a couple of designs, and our art director, Renier, picked the one he liked most. Initially, I tried to mix batik into her capelet, but it ended up being too distracting design wise. But If we had gone with batik, it would’ve been a nightmare to draw it into every single panel of our comics. After refining the design further, I started on color combinations, and finally, we settled on the default color scheme you see in the game.

[Editor’s note: batik is a technique of dying cloth that results in elaborate patterns and designs. It’s especially popular in Indonesia and parts of Malaysia.]

Around the time I was designing her face, I was watching Netflix’s Punisher in my downtime. I really liked watching Dinah Madani, played by Amber Rose Revah. I felt that some of her personality matched Zara’s. I wasn’t so much inspired but influenced. I was also looking at Overwatch, to study what makes their characters so popular from a design standpoint.

  

 

What do you think makes Zara appealing?

She’s relatable; she has flaws. One of those being headstrong and stubborn. Audiences feel more connected to characters when they have flaws. Otherwise, she’d just be a fantasy with no characteristics. There aren’t many characters in current media that look like Zara, especially role models to look up to. Many western kids have a variety of superheroes they look up to. There aren’t many (if any) for young Malaysian girls to look up to, and even though Zara isn’t a superhero, I hope that she inspires Malaysian youth.

 

How do you define good character design?

There are many factors that play into this. Research is one good reason for good character design, that and of course, readability. When I talked about Zara’s background that also played into her character design. Her personality must show in her design. Her silhouette should also be unique from the other Nightstream characters. It should set her apart as an individual. I think I accomplished that by sticking to a lot of the rules we placed for Zara. A good character design makes for a memorable character.

 

What were some of the design challenges you faced, and how did you overcome them?

The biggest challenge about Zara was mainly getting the dress code of a Muslim woman down. Since I’m not part of the religion I had to do a lot of research and collaborated with people from the faith to nail down a modest and modern outfit for her. Checking in with people often served as a sanity check, they’ll often tell me if something wasn’t modest.

 

What has the reception and feedback been to Zara’s design?

From what we see when we attend events, people like her. It’s something new that they’ve never seen before. It’s not every day that you see a hijabista as the main character of a video game. We’ve had tons of people taking pictures and selfies with the life-size standee of Zara.

[Editor’s note: hijabista is local slang, a combination of the words hijab, a traditional head covering for female Muslims, and fashionista, a follower of fashion. Think hipster with a hajib – after all, Zara is a part-time barista and musician.]

 

What aspect of Zara’s design are you the proudest of?

I don’t have really have a favorite design aspect about her, she was just fun to create. The idea that she culturally represents a lot of people in Southeast Asia takes the cake.

 

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Special thanks to Lynette Wong from Streamline Games for sharing her thoughts and design process on designing one of Nightstream’s playable characters.

Nightstream is available now in Malaysia for iOS and Android devices. For more information on Nightstream, including upcoming content releases, visit our website and follow our Facebook page.


Streamline's Role in the SEA Games Industry in 2017

The games industry continues to amaze us with its innovation and continued ascent towards becoming the dominant medium of consumers around the world. This year has proven that the appetite for games cannot be satisfied and opportunities across platforms and countries have only just begun. Whether it was the release of the Nintendo Switch that stormed through the industry or Sony’s 70M install base and groundbreaking program to cultivate AAA games in China, through its China Hero Project, video games are on the rise as an industry, profession, and medium.

From our corner of the world in Malaysia, Streamline has taken part in the explosive growth of Southeast Asia’s games industry. Currently valued at US$2.2B*. We’ve witnessed the transformation of the region from a consumer to a development market. Ushered in by savvy studios, government support, and a large talent pool. This growth has translated into net positive value for our partners worldwide, and we are honored to have worked with the brightest in the industry like Square Enix, Sony, and Capcom.

Streamline has led the co-development movement that’s now speeding across external development studios. We are happy to see other studios take note through their own efforts to grow or acquire development teams. What’s clear is that co-development isn’t a tip-in, but a fundamental rebalancing of development resources globally. With top publishers and developers continuing to devour talent in their markets, external development becomes the only sane way to scale while keeping development KPIs and consumer expectations inline.

In 2014, we identified co-development as the next evolution of external development and pioneered the process with forward-thinking publishers and developers. Streamframe, the industry’s first external development platform was built and refined with co-developments in mind.

Streamline’s phenomenal growth continues with co-developments, AAA content creation, and original games. As a leader in AAA development, we’ve become more integrated with our partners than ever before. This translates into turnkey teams that are constantly advising, developing, and executing on our partner's most ambitious projects. This means full source and SVN access while defining development plans together in concert. It is the only way to make co-developments work.

History and experience show signs of early preparation for the upcoming platform transition. This is led by an incredible uptick in merger and acquisition activity in the external development sector. Consolidation is good if value remains and hopefully, it doesn’t mean the commoditization of engineering and design talent the way it took place for artists over the past decade. Fingers crossed.

As 2017 comes to a close, we wish to thank our wonderful partners, colleagues, and friends for their support and wish everyone a great holiday season. May 2018 be the best year yet for your team, studio, and family.

Best,
Alexander L. Fernandez,
CEO, Streamline Studios


*Source: Newzoo Report: $1.1bn Southeast Asian Games Market To Double By 2017


Streamline Joins Forces with Square Enix for Monster of the Deep: Final Fantasy XV

Streamline Joins Forces with Square Enix for Monster of the Deep: Final Fantasy XV

Kuala Lumpur, November 21st 2017 – Streamline Studios, the largest game developer in South East Asia, today announced its creative collaboration with Square Enix on the PlayStation VR title, MONSTER OF THE DEEP: FINAL FANTASY XV.

Continuing the collaboration which started with Final Fantasy XV, Streamline worked with Square Enix advanced proprietary software suite, solving creative and engineering problems for a modern VR experience. Focus included UI/UX design and implementation, as well as extensive content support based on photogrammetry, and creature creation including the famous “Boss Fishes.”

“We’re honored to continue our long-term collaboration with Square Enix for MONSTER OF THE DEEP: FINAL FANTASY XV” commented Stefan Baier, Chief Product and Solutions Officer at Streamline Studios. “We appreciate the support and guidance from our partners in Tokyo, and continue to learn more about the vast Final Fantasy XV universe.”

Tabata Hajime, Director, Final Fantasy XV said “MONSTER OF THE DEEP: FINAL FANTASY XV is the first genuine VR game developed by the FFXV team. In an extension of their work for the FFXV main game, Streamline’s development team provided us with the essential details of this VR project. Once again, the Streamline team provided us high-quality support for this title during our most critical moments to help improve the overall game experience.”

The project utilized Streamframe, a cutting-edge management production tool which provides full workflow transparency, and rapid real-time feedback between studios. Daily workflow between Streamline and Square Enix is facilitated by dedicated, onsite bilingual project managers, and Streamframe is fully localized in Japanese for partners in the region.


Recapping DNA Serverware – A Gathering of Gamers

With hundreds of participants flooding the scenes of Four Points by Sheraton Puchong, DNA Serverware achieved their set aims to reach and unite key players of the gaming scene in Malaysia by showing strong numbers at the second edition of the gamers’ gathering.

The event united prominent game developers, exotic cosplayers, famous gaming personalities that brought vibrant energy to the event. Some key players in the games scene shared their journey in games and provided interesting perspective citing where the industry is headed to. Among the participants, Streamline Studios was represented by Learning & Development Manager, Azlan Ismail who rocked the stage with strong energy while he shared about key opportunities that exist in the games industry with an attentive audience.

All in all, the event served as a great platform where many business relationships were built, great ideas and knowledge shared. More importantly, we witnessed a strong sense of unity between the different players in the industry that came together to grow, play and share which was the big win overall.


 


Follow us on Facebook for the latest updates from the studio!


https://www.streamline-studios.com/events/


Recapping Gamescom 2017


With hundreds of thousands of gamers, journalists, developers and exhibitors descending on Cologne, Gamescom is a must-attend in the video game industry. This year was no exception.

We love going to the convention. It’s great place for us to take the pulse of the industry. And this year we sensed something exciting.

Games are in full dev. Incredible titles are in the pipelines of studios worldwide. Technology is advancing in huge leaps. An industry is rapidly evolving right before our eyes and rising to new heights.

Europe’s development scene is in full-up mode, including a strong focus on mobile. Products are starting to flow into the marketplace. As the complexity of games increases, co-development projects are starting to become the norm, partnerships forming to create solutions from multiple levels of expertise.

We’re also seeing the emergence of new players entering the space. Brands and industries are sensing opportunities to use games to forge connections with consumers and expand the scope of games in multiple directions. The focus is not so much on how to get into games, but how to join game projects as a multi-touch experience, increasing a game’s value by creating experiences around a game. An example would be Rockstar’s promotion tie-in with Gears of War.
As these ideas flowed across our Gamescom meetings, the idea of co-development emerged as a logical response to industry trends. There appeared no better way to alleviate risk and promote participation than by redefining partnerships in the external development space. Streamframe, our development management software system, is custom built to ease the workflow in the co-development process and response to the platform at the show was terrific. It confirmed our thinking on the evolution of the industry and made us excited at the possibilities on the horizon for the entire industry.

With the games industry heading north of $100 billion dollars, the technologies and stories to be told are boundless. And so was the palpable sense of excitement on the floor of Gamescom 2017.

[foogallery id="1785"]


Gamescom Official Website: http://www.gamescom-cologne.com/gamescom/index-9.php


The Promise of South East Asia

The promise of South East Asia is a big lofty title. Like we’re going to unveil some earth shattering revelation, or we’re writing a romance novel, something like that. But this is a lot more sober than that. We’re talking about the road ahead for our industry, the video games industry, and the growing markets here. Not just growing, but expanding in leaps and bounds, like a game hero powered-up and ready to fly. That’s what the growth charts show us, and that’s why we’re so excited about the promise before us.

Because of some policy changes in China, rollbacks on a 14-year ban on console games, South East Asia is now teed up for significant opportunities ahead. Revenue is surging past the $1 billion mark.

“The Southeast Asian games market is often compared to that of China, and we can see that it is following behind China by a few years,” says Lisa Hanson, managing partner of Niko Partners. “Gamers in Southeast Asia embrace massively online battle arena games, shooters, and mobile games just as they do in China. However, older Chinese gamers still embrace higher revenue generating MMORPGs [massively multiplayer online role-playing games], a segment that many Southeast Asian gamers shy away from. Therefore, the challenge to developers is to compel an increase in the level of spending on the type of games for which Southeast Asians have shown enthusiasm.” Fortune

Yes, there are many challenges ahead, but nothing will stop the surge of the video game industry, powered by the white-hot fuel of love of games. Gamers are committed. And the governments of Southeast Asia recognize that.

Hasnul Hadi Samsudin, MDEC’s vice president of Creative Content & Technologies Division. Sees incredible growth in Malaysia, as much as 30% in the last two years.

This is the fastest growth of any geographical region. In comparison, the global growth rate is estimated at 7% for the same period. Today, the region video games market represents approximately 4% of global consumption, and the numbers are projected to climb rapidly in five years’ time. Vulcan

The promise of South East Asia is a surging wave of new talent, both in quantity and quality. The promise of South East Asia is watching that talent mature as it takes in new experiences and conquers new challenges. The promise of South East Asia is an influx of top international game developers setting up shop and building studios, hiring and nurturing young artists and programmers and creating some of the world’s greatest games.

All this is the promise of South East Asia, and it’s happening right now. Hang on, because if you’re part of this amazing community of gamers, either a player or a creator, you’re riding a rocket into the future.

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MDEC Official Website: https://www.mdec.my/


Streamline Studios hosts Digital Holiday Ninja Program

Kuala Lumpur, August 7th, 2017 - Streamline Studios hosted 3 promising talents from MDEC’s My Digital Maker for 10 days and put them through a rigorous, exciting program to design a video game from scratch using Unreal Engine 4 technology.

The initiative by MDEC gathered a pool of 40 bright young talents from across the country and took them through a series of programs with an emphasis on “innovation.” The students’ work earned them tickets to a life-changing experience in Silicon Valley. In the Mecca of Technology, they pitched their innovations to a panel of judges and returned home with the mission—partake in a 10-day internship program with guidance from industry leaders such as DiGi, Les Copaque and Streamline Studios.

Streamline Studios, an avid supporter of the Malaysian education initiatives was honored to be selected as a partner for the project. The young talents were introduced to the very basics of video game development and were brought together into a game design team, where they worked on building a game of their choice. They crafted all elements of the game, including gameplay, characters, environment and AI (artificial intelligence.)

The interns built a game they dubbed “Outbreak,” which put them in the role of a protagonist, whose mission is to save a group of scientists from a horde of zombies and escort them into a “safe zone,” where they can be rescued.

Azlan Ismail, Learning and Development Manager at Streamline Studios, commented on the Digital Holiday Ninja Program; “It is exciting to be a part of an initiative targeted at raising a generation of digital savvy youth. Witnessing these talents take on a real challenge and successfully creating a functional and relatively complex game in a span of ten days was a true delight.”


MDEC Official Website: https://www.mdec.my/