Professional Experience Development QA Lead - Firemonkeys/EA Mobile (Melbourne, Australia) April 2014 - Present Quality Assurance Tester (Part Time) - The Voxel Agents (Melbourne, Australia) August 2013 - April 2014
Report and regress bugs within project management tools.
Cross checking to confirm consistent results across multiple
hardware, software and browser setups.
Ensure accuracy of metrics data via analytic platforms
Work with programmers to test newly implemented features and
ensure punctual, functional release builds on a weekly basis.
Certification
Tester - Electronic Arts Mobile (Montreal, Canada)
April 2013 – June
2013
Ensured software adhered to EA and first party quality
requirements and guidelines.
Cross checked to confirm consistent results across multiple
devices, generations and firmware.
Reported and regressed functionality and certification issues in
the database.
Communicated pertinent information with local and offsite
teams to problem solve issues.
Functionality
Tester -- Babel Media (Montreal, Canada)
February 2013 – March 2013
Performed In-depth and accurate testing of assigned tasks and areas.
Performed Ad-hoc tests, regression tests and test cases.
Recorded and edited footage of issues using video and screen
capture software to better articulate problems.
Adapted to different projects on a daily or weekly basis as
well as differing testing and writing methodologies based on client
requirements.
So Total War Rome 2 is out, it’s unfortunate shortcomings
widely known even beyond the player base. I won’t go into the many obvious things
that are problematic, but from personal realisation and scouring message
boards, a key issue stands prominent in my mind. These issues have to do with ‘fantasy’
and ‘immersion’. These words can be easily ridiculed as PR buzzwords and they
are often used under such circumstances. Regardless, they are two elements that
are vital in the make-up of a Total War game.
I am reminded of a post-mortem video where Warren Spector
and Harvey Smith frankly talk about the mistakes they made in Invisible War. I’ll
paraphrase, but Smith briefly gives an example of where in an attempt to
streamline the skill/augmentation system, the design team took mechanically
similar skills and augs from the first game and combined them into one
augmentation in Invisible War. A decision that was economically sound, as both
implementations resulted in the same mechanical outcome. But Smith stresses
that despite this streamlining which simplified the user interface and the
gameplay, it fundamentally affected the player’s ability to pursue a fantasy. In this case a player would
look at the skill and augmentation tree and decide that they wanted to pursue
the ‘aquatic guy’ fantasy. So they would pick the swimming skill and pair it
with the aqualung augmentation. Boom – fantasy realised – and the player feels
all the more invested and inclined to play.
Skip to the last minute for Harvey Smith's remarks on player fantasy.
Now if we look at Rome 2, on one hand Creative Assembly have
actually taken this realisation to heart. In one sense, the game has increased
our ability to achieve particular fantasies. These come in the form of
customisable army and navy characteristics and skill trees for Generals. Never
before in a Total War game have we been able to create personal histories and traditions
for entire armies. If we wanted to re-create Caesar’s infamous 13th
Legion, we can. Raise an army under a Julii family General, re-name the army ‘Legio
XIII Gemina’ then over it’s lifetime give them the ‘inexorable conquerors’ and ‘barbarian
subduers’ traditions and subdue Gaul itself. In this case the fantasy to replay
a series of historical events has been allowed to flourish. This fantasy and
almost any other similar fantasy can be created thanks to the army traditions system.
Given the historical subject matter of the Total War games, it is fair to
assume players will pursue their own historically inspired fantasies.
It goes to show then, that in a grand historical strategy
game that spans entire continents, the more humanising, grounded and personal
the experience can become, the greater the investment by a player can become. In
all other respects outside of the army tradition system, Rome 2 has taken a
step backwards in allowing players to fully realise their immersive classical
era fantasy. Some examples of how:
Family trees were present in the first Rome game. Now they
are not. The reaction to this omission is mixed. It has been brought up that
the family tree in Rome 1 in no way affected any part of the gameplay itself.
Correct! At a fundamental mechanical level, current and past family details had
no affect on gameplay outcomes. However, one should not underestimate the power
of the player’s imagination. Entire stories and character driven accounts could
have been conjured from the inclusion of a family tree. A simple series of
gameplay events could influence the way someone plays. A very simple Example: Brother
Generals Romulus and Regulus come of age from the marriage of a previous
General; they both lead legions. Romulus takes his to Illyria, whilst Regulus
marches his legion to North Africa. Years into the campaign, Romulus is killed in
battle by a vicious Thracian army near Greece. Regulus, in uncontrollable rage,
vows for personal revenge and pulls his legion out of Africa headed straight
for Illyria. From here, depending on the player's actions, perhaps Regulus is also
thrashed in battle, or perhaps he successfully manages to stomp the barbarians
into Illyria’s fossil record. This decades-spanning narrative could end in a
brotherly love tragedy or a tale of revenge. A touching personally engineered character driven story within the wider story arc of the Roman Empire's expansion.
Another missing feature is the beloved agent cut scenes,
giving us humorous and mild historical insights into assassinations and acts of
sabotage, but also a method of creating empathy for our lonely on-screen agents. Although I do understand why they are only apparent in the Shogun
games. The asset requirements of the cut scenes would most likely be too grand
with such varied and distinctive cultures in the Medieval, Rome and Empire
periods.
Finally, the removal of informative and educational pop ups
that used to occur after social/military reforms and the research of new
technologies are missing. Another opportunity to connect with the player
through the game’s prominent technology tree. An opportunity for depth and
learning wasted, as technologies are simplified to a mere set of statistics. Let's not reduce one of the industry's more thought provoking historical strategy titles to a mere conquering simulator, why not take the opportunity to educate a user with relevant information in a setting that makes absolute sense?
Historical education in a game driven by human history? Brilliant!
In the grand scheme of things, none of these
missing features are extreme deal breakers. But it is rather bemusing for Rome
2 to be missing so much of what has given previous Total War games their
flavour, particularly when they existed in the direct prequel. There really is
nothing quite like the Total War franchise. For me it represents the ultimate
escape. To a time often documented in books, TV and film. But a time that could
NEVER be so truly appreciated and experienced from a grand world scale to the minutiae
of the individual warrior’s experience. Every tool previously made available to
fully realise and re-create our own stories and history should be brought on
board, not left to the cutting room floor.
