“The Matrix Online’s” Live Team Producer Talks Games, Graphics, Storytelling and More

by Louis Bedigian

“For certain game genres, if you don't push the limits of graphics capability to the utmost, it will seriously affect your sales potential.”

Last week GameZone Online sat down with Sony Online’s Sheri Graner Ray to chat about her thoughts on the industry and her role in the Women’s Game Conference.

This week we continue our spotlight on Women in Gaming by interviewing Ellen Beeman, the Live Team Producer of The Matrix Online.  Looking to take The Matrix universe to a whole new level, The Matrix Online combines real-life fighting styles with the film’s gravity-defying moves. 

Judging by how big that title is you could assume that it’s not Ellen’s first game.  You’d be right.  From Microsoft and Disney to Sega and Electronic Arts, Ellen Beeman has written, designed and produced video games for a number of companies since 1989.

And when she’s not jacked into Matrix development, she serves on the Steering Committee for the Women’s Game Conference. 

With so much experience in the gaming industry, what does she have to say about it?  What advice would she give to aspiring game developers?  GameZone Online was eager to find out.

Tell us a little bit about yourself.  You've worked for a lot of different game companies – what titles did you work on and how were you involved with them?

Ellen Beeman:  It's a long list, actually!  I've worked on over forty games, in a designer, writer, and/or producer role.  I think my favorites would be "Wing Commander II", "Hit It, Maestro!" (a children's classical music game for Leapfrog Toys), and of course my current project, "The Matrix Online"!

When and where did your career begin?

EB:  I started at Sierra when they were still Sierra On-Line, in 1989, managing CGA to EGA ports of some of their adventure game titles.  (Wow, just writing that sentence makes me feel old!)

How did you get involved with the Women's Game Conference?

EB:  At the request of Sheri Graner Ray, an old friend and professional colleague.  Sheri and Chris had the initial concept for this conference, and those goals are shared by myself and the other women of the conference's steering committee.

Imagine I'm a woman looking for a good career, but I don't currently have an interest in the game industry.  What would you say to spark my interest in it?

EB:  Would you like to work with brilliant, creative people on projects that will challenge you to the

utmost?  Would you like to try things that have never been done before, and break new ground in technology and computer art and game design?  Then do I have a job for you...! <g>

Here's another scenario: If I were a woman thinking about working in the game industry, which aspect should I pursue?  Which part of the business is prime for women?

EB:  Every possible job area is one that should be pursued!

Historically, more women have worked in the game industry in areas of art creation, Marketing and PR, HR, and Sales, but there are amazingly talented women working in the game industry in programming, design, producing, and executive management.  Good companies recognize that employee diversity is a benefit to their teams, their products, and their bottom line. 

Where is the best place for both men and women to start working in the industry?

EB:  I'm a big fan of internships, as I should be, since I've spearheaded the growth of Monolith's internship program!  If someone is having problems making that leap from college to a good game industry job, I highly recommend exploring the possibility of an internship.

Tell us about your first experience playing a video game.

EB:  Now I'm -really- feeling old... that must have been Pong on the original Atari.  It was love at first sight.  My first computer game, which I think was either Alkabeth or Wizardry on a monochrome Apple, was even more so.  Of course, back then I had no idea that I would ever have a career in game development... games were just something that I loved to play.  I was actually planning on a diplomatic career with the State Department, believe it or not.

What kinds of games turn you off, and what was it about them that turns you off the most?

EB:  You're probably expecting me to say "games with stereotyped female characters," but I'll surprise you with a completely different answer.  I can't stand games that have poorly designed user interfaces.  In my mind, that's just unforgivable in this day and age. You don't need a big budget to organize a simple focus group test and make sure that people can actually understand and play your game.

I do feel a little sad when I see games that have very narrowly defined female characters, just because I think that kind of game, ultimately, does nothing to expand our genres and markets.  And that should be our goal as an industry, not just to do games that are re-treads of existing games, but to break new ground and ultimately bring in new game players into our audience.

How does storytelling work in the game industry?  In film and TV someone writes a script, hands it over to the director, and the project begins.  I would assume that things are much different in the game industry.

EB:  Yes, of course.  It's a much more iterative process than even what you see in television and film, starting with the design document and continuing throughout the game production process.  On "Hit It, Maestro!", I did thirty-three rounds of revisions to the game script, and that was a tiny, tiny children's game project.  On a major game project, you won't even be able to count the number of revisions.

Tell me your thoughts on video game graphics.  Many publishers think that's the most important thing, while some developers say that for every dollar they spend on graphics, that's one dollar less they're spending on gameplay.

EB:  This is a tough topic, because for certain game genres, if you don't push the limits of graphics capability to the utmost, it will seriously affect your sales potential.  I think with every project, the publisher and developer should set very clear goals as to the graphics and technology at the start of the project, in terms of what they're going to target.  And then hold to that vision as best they can, when buffeted by the changes in market expectations.

Clearly, The Matrix Online is pushing

the graphic capability of today’s high-end PCs.

Is there a way to balance the design of both graphics and gameplay so that neither suffer?

EB:  Yes, to plan this from the start of the project.  This should be discussed and agreed upon by both the developer and publisher, well in advance of the start of full production on the project.

Are you at liberty to talk about your upcoming game, The Matrix Online?

EB:  Not really, other than to say that it is the most amazing massively multiplayer game I've ever seen... and I think it's going to break new ground in design, graphics, and technology... and it's a pleasure and a privilege to be working with this incredibly talented team.  And you should sign up for our Beta!

Thank you Ellen for a wonderful interview.