The impact of generative AI is becoming undeniable, as it increasingly integrates into the gaming sector. Colin Cragg, the CEO of Blue Scarab Entertainment, which features a team comprised of former developers from titles like Helldivers and World of Warcraft, acknowledges that while the technology has its applications, it also introduces significant challenges.
In an interview, Cragg expressed his initial enthusiasm about AI’s arrival, as he believed it could handle mundane tasks typically disliked by humans. He humorously remarked, “AI was supposed to vacuum my house and fold my laundry.”
According to Cragg, the idea was that by delegating these tedious, unappealing tasks to AI, humanity would gain more free time to engage in creative pursuits such as music and art. He elaborated, “But some ridiculous Silicon Valley tech bros decided that, no, the AI is going to be the thing that’s going to make the music and the art now, and I’m not happy about it.”
At Blue Scarab Entertainment, Cragg explained, “We view AI tools as a means to eliminate the segments of production that developers generally dislike. For instance, UV mapping textures onto a mesh is not something artists relish. They prefer engaging in sculpting and modeling, creating captivating assets rather than focusing on UV mapping.”
Overall, this sentiment appears to resonate within the gaming industry. While Nintendo has not dismissed the integration of AI technologies, they emphasize that “what makes our games special is our developers.” Similarly, Swen Vincke from Larian Studios, the creators of Baldur’s Gate 3, perceives AI as “a tool that we use to help us do things faster,” clarifying that it will never take the place of the creative aspects involved in game development.
However, Cragg raises a pertinent question: “Are we going to start replacing all of our concept artists with Midjourney? Hell no.”
The team has encountered unforeseen issues related to AI, particularly in regard to certain artworks featured within the game’s environments. Cragg recounted instances where onlookers incorrectly identified their work as AI-generated. The reality was that the team’s effort included “multi-hour, sometimes multi-day concept work” that, albeit remarkable, faced skepticism because similar content exists online, which has been used to train AI.
To counter this misconception, Cragg disclosed that the team has resorted to using earlier iterations of their work, rather than the more refined versions. “So we’re putting a less polished version of it in there, so that it doesn’t rustle people’s jimmies, would be the English expression, about ‘that could be AI.’ We have to make it look worse than what the artist was capable of doing, so that people don’t get upset,” he concluded.
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