Contents 1 ExecutiveSummary 3 Product Overview 3 Team and Concept Strengths 4 Core Principles 4 MarketingStrategy 5 Summary 5 Te Changing Action/RPG Market 5 Action Gameplay Style 6 Marketing Hooks 6 TheCardSystem 8 What are Cards? 8 Types of Cards 8 Booster Pack Online Concept 8 Fate Cards: Our Hook 10 Business Model 11 VisualPresentation 12 Style Overview 12 Key Visual Elements 13 IntellectualProperty 15 Key Aspects 15 Content Teasers 15 ProductionInformation 17 Production Scope 17 Console Multi-Player Approaches 17 Content Generation 17 Value Added by EA 17 Technology Opportunities 17 TechnologyandTools 18 Middleware 18 Technologies 18 Tools Chain 18 Company/TeamInformation 19 Company 19 Team Members 19 Contents A concept image showing a greater Djinn looming over a city and harbor scene. This is an example of our Magical Realism style, showing experimentation with scale, elongation, use of extreme color, and silhouetting. Rp6 1
Pagc 2 Confdcntial Information Contact Inf ormation Michael Scandizzo President, Castaway Entertainment, LLC 3000 Bridge Parkway, Suite 103 Redwood Shores, CA 94065 Phone: (650) 610-9022 x107 Fax: (650) 610-9023 Legal 2005 Castaway Entertainment, LLC. Confdential material. Trade secrets. All rights reserved. Xbox 360 and Xbox Live are trademarks of Microsoft Corporation. PlayStation 3 is a trademark of Sony Corporation. Dungeons and Dragons is a trademark of Wizards of the Coast, Inc. A concept image for a dark magical monster, the evil, mutant Sand Priest. Fd 5
Pagc 3 Confdcntial Information Product Overview Genre: Action/RPG HighConcept: We believe the console market is ready for a next-generation Action / RPG that starts with Diablo IIs defnitive blend of polish, accessibility and fun, and adds next-generation entertainment advances, principles and visuals to the mix. The idea of a next-generation, greatly upgraded Diablo II on console forms the basis of the concept and marketing strategy for our newest game, Djinn. Djinn is a real-time 3D action roleplaying game of heroic risks in an island world of ancient mythical beings and forbidden magic. With non-stop pacing unfettered by text dialog choices, and featuring larger than life ruins, temples, and legendary creatures, Djinn reveals a realtime story told not by signpost NPCs but by your very traveling companions themselves.
VisualStyle: Magical Realism, a style that uses exaggerated contrast, dramatic saturation and desaturation, out-of-scale proportions, and a spectacular sense of depth to incorporate surrealistic fantasy elements into an otherwise photorealistic world. MarketingStatement: Djinn combines Diablo II quality, item collection, tactical equipment and skill choices, and dynamic, user-friendly combat; Phantom Dust playfeld interac- tion and destruction; Psi-Ops physics-based combat; Ratchet and Clank: Up Your Arsenals varied attacks and situational awareness; and Magic: The Gatherings highly addictive collect- ible and customizable booster packs. Djinn is an elegantly simple, mass-market Action / RPG that will appeal to a broad range of players because of its addictive qualities. Platforms: Xbox 360, PlayStation 3, PC, other platforms to be determined. OnlineContent: Through online play, players can access purchasable add-on content that allows them to endlessly customize their gameplay experience using a drop-in card system. These quest/item collections would be very addictive purchases, something like collectible card bonus packs. Using our adaptive content generation technology to generate both quests and rewards, we would ensure that no two players receive the exact same experience or item set. Online trad- ing of cards, special unique cards, and sharing card benefts with online teammates will make this a revolutionary method of delivering new features to players, as well as increase the desire to purchase more cards. Similar/CompetingProducts: Fable 2, Dungeon Siege 2, Diablo TitanQuest, Champions: Return to Arms, Gauntlet: Seven Sorrows. ProjectedRelease: 2007. Executive Summary A concept image for a hybrid creature, the Lion-Mummy. h v
Pagc 4 Confdcntial Information Team and Concept Strengths Our core team members were instrumental in shipping Diablo and Diablo II, two of the most successful Action / RPGs ever made. We are experts in the creation of top-selling, mass- market games. We were part of the elite Blizzard team that greatly expanded the moribund PC RPG market, and brought a whole new generation of casual players into the Action / RPG genre. Our goal is to use our expertise to create an intense but elegantly simple Action / RPG for next-generation consoles. We are aiming at the same level of quality and mass sales as console classics such as Final Fantasy VII or Legend of Zelda: the Ocarina of Time, using the sophisticated PC-style approach of believability and deep gameplay to take Action / RPGs to a new degree of quality. This approach will be ideal for the discerning older, hardcore, or early adopter audience on next-gen consoles. The success of products like Goldeneye 64 or Grand Theft Auto 3 demon- strates that a PC-to-console approach can result in a big hit. Our concept for Djinn takes the best aspects of PC gaming, plus the special strengths of Diablo and Diablo II, and applies them to console. Depth and believability are universals that the best PC games are known for. Specifc elements that Diablo and especially Diablo II are famous for include elegantly simple design, a great variety of choices, addictive non-stop gameplay, rich character customization, cooperative multiplay- er interactions, wide-ranging loadout strategies, and diverse, heroic mission design.
We also are adding new ideas to the mix. As members of the team that brought you Diablo and Diablo II, we are experts at bringing a casual gameplay experience to the public, and appealing to wide audiences that never before played RPGs. Extending this experience to the console opens up a huge new market of players untapped by previous hardcore RPGs such as Morrowind, while stepping the experience up to a new level. We are going beyond Champions of Norrath and similar old-school games by using powerful principles of entertain- ment including Heroicism, Reactivity, Grand Scale, Slot Machine Addictiveness, and Layered Rewards (see below). Specifc console issues, such as controller layout, online support, and use of vibration, are areas where we expect to create interesting variations on established console practices, rather than completely reinventing the wheel. See the Dif- ferentiating Factors section, below, for details. We believe our approach is optimal for reaching the older, next-generation console adopters. These new customers are going to demand a lot from their games, and a best of the PC approach can attain a very high level of quality and ad- dictive gameplay. Core Principles Djinn is based on fve core principals that together form the basis of our world, our gameplay, our story and our visual look. These principles are mutually reinforcing. They are: 1. Heroicism: The feeling of accomplishing signifcant feats of courage or nobility of purpose. 2. Reactivity: The ability to affect the world both physi- cally and historically (and the physical and historical consequences thereof). 3. GrandScale/Verticality: A perception that the world is much bigger, deeper, and taller than the player envisioned. 4. SlotMachineAddictiveness: An addictive quality created by random reinforcement of behaviors, much the way playing a slot machine entices a gambler to keep putting coins in the slot. Payoffs are given just frequently enough to keep a person playing, but not so often as to make the gamble predictable. 5. LayeredRewards: The idea that the more risky a challenge, the greater the potential reward, with pos- sible rewards available for all things that players can achieve in the game. Rp6 1
Pagc 5 Confdcntial Information Marketing Strategy Summary Our current game as initially funded by Electronic Arts was a PC game with an addictive, rapid-click mouse-based combat model. However, we are now working on a new implementation of our concept for next-generation consoles. The console version will be the focus of our next phase of development. The interface and other aspects of the EA-funded game will be modifed to suit next-generation console technology and to match the preferences of the console audience. The goal is to create a uniquely recognizable and enjoyable Action/RPG on next-generation consoles that will resonate with the early adopters and other anticipated purchasers of these new machines. A PC version will also be released. The Changing Action/ RPG Market Lessons of Diablo and Diablo II As noted above, many members of our team were instrumen- tal in creating Diablo I and Diablo II. Djinn will allow us to apply our experience and knowledge of the inner workings of this game to our product, in effect making Djinn a spiritual successor to these titles. Consoles: the Growth Market Following is a chart showing estimated purchaser breakdown on Xbox 360 and PlayStation 3, assuming the audience is composed almost entirely of early adopters and hardcore gamers in 2007: Action/RPGs have become a hot genre on consoles. Recent data indicate that console gamers are willing to buy several different Action/RPG games and will play them concurrently, rather than just buying one game and staying with it for a long time. In our opinion, this means that more titles can come into the market before the market becomes saturated. Recently released new Action/RPG titles from major publish- ers such as Champions: Return to Arms, Fable, Drakengard, Untold Legends and Jade Empire, have shown that Action/RPG on the console is a still-evolving genre. Each of these games has a unique approach on how to make RPGs work on the console. And, according to press releases, sequels to most of these games are already in the works, which we believe indicates a high level of expected market growth. Djinn will bring its own spin to this vibrant market and will compete with the best console products of 2007. The PC Market The entrance of casual gamers into PC gaming and the unexpectedly low sales of hardcore FPS games in 2004 indi- cate that the demographics of the PC market are changing. Additionally, the size of the PC market has been diminishing over the last few years. However, sequels to PC Action/RPG franchises such as Diablo III, Dungeon Siege, Elder Scrolls and Neverwinter Nights are still in the works or already have been given release dates. New PC Action/RPG products such as Hellgate: London and Twilight of Larabeth have also been an- nounced. So in spite of changes in the market, it appears that there is still strong sales potential in the genre. Diablo II has continued to enjoy strong sales many years after its release. Even recently, the game sold over 100,000 units in 2003 and then sold another 100,000 in 2004. We believe that these sales numbers show that the market for simple, light PC games remains robust. Our goal for the PC platform is to create a PC game with clarity, free choice of actions, visual appeal and a very mass- market, recognizable IP, in order to attract the new gamers who like lighter, open games such as The Sims. At the same time, we will offer the same fast-moving combat and deep item collection that attracted traditional PC gamers to Diablo II. In its PC version, Djinn is intended to appeal to a broad spectrum of different PC gamers. The PC market has grown increasingly fragmented and the trend is likely to continue. We believe the best strategy for a triple-A PC title in 2007 will be to appeal to many consumer segments rather than trying to own a single consumer niche. Following is a chart showing a rough estimate of the purchaser breakdown of Djinn on the PC platform: A concept image for our hero, showing an action pose. m7o 1
Pagc 6 Confdcntial Information Action Gameplay Style RPGs vary greatly in terms of action content, especially on console. Our brand of light RPG / intense action game design can be mapped to a bar graph that shows the full range of action styles and RPG styles, as follows: As can be seen in the diagram above, this game will be more intense, yet simpler than many competing products. Combat will not be complex, but it will have moments of extreme pressure where events unfold very rapidly, and players have to make fast decisions to survive. For more information on combat, see Marketing Hooks and the Differentiating Factors section, both below. Marketing Hooks The following game features are currently hot buttons for players. These hooks provide entertainment value to play- ers and can be found implicitly in most reviews of successful Action / RPGs. Djinn incorporates all of these features: Collectible Cards In 1993, a small startup company introduced a collectible card game originally titled, Mana Clash. Twelve years later, there are an estimated six million active players in seventy countries, and Magic: The Gathering earned Wizards of the Coast enough money to acquire TSR, the makers of Dungeons &Dragons, the game that inspired Magic in the frst place. Imitators, such as Pokemon and Yu-Gi-Oh, have copied the formula and reached even greater heights, with Yu-Gi-Oh having sold an estimated 3.5 billion cards in Japan alone. How could collectible cards reach such incredible sales in the era of video games while board games, paper-and-pencil roll- playing games, and regular card games remain a niche market? By packaging rare cards with common cards, collectible card games allow the buyer to gamble every time they purchase a new pack of cards. In addition, by permitting players to pick and choose from their vast collection of cards and build their own customized deck of cards, collectible card games permit player to personalize the game in ways video games are only beginning to. By carrying over this addictive gambling and customizing to online content purchasable as low-cost transactions, Djinn will run on a business model new to video games but already well tested in the collectible card market. Broad Customization and Identity Choices RPG players want to create personal heroes whose achieve- ments can be differentiated from heroes created by other players. They want to both live through their characters and make their characters uniquely their own. Our exten- sive character development and reactive content generation systems will allow players to create their own special identity, encounter unique quests, gain unique items, and feel a strong sense of ownership over the character that results. Uber-Collection Experience Djinn will have a more detailed and customized item collec- tion system than any Action / RPG previously created. The range of items, and the different ways they work, will be both deep and highly colorful. This is a key part of the classic Diablo model that we know players will fnd entertaining, especially when expanded upon using our Core Principles. Deep, Dynamic Combat Encounters Especially for console gamers, combat must be immediately thrilling, but it must be balanced by gameplay that is easy to get into and understand. And players demand believable A concept image for the heros ship. This is an experiment in creating a mood of fantasy. Rp6 1
Pagc 7 Confdcntial Information combat situations, not old-school gags where a monster is frozen, waiting to attack when the player enters the room. Instead, Djinn will use advanced AI, level layout concepts such as lairs, and tactical situations that evolve in real time, to create a next-gen feel. These encounters will always be easy to understand. In addition, factors such as rock/scissors / paper tactics will add depth and split-second decision-making, to further raise intensity. Advanced Physics We will be showing off our combat moves, interactive environments and highly vertical levels using advanced phys- ics. Players will be able to do many things with our physics engine, including: Push victims off ledges or slam them into spikes. Drop objects onto targets far below. Knock over pillars and break platforms, in order to damage opponents. Knock back enemies who fall down with rag doll phys- ics. Create domino effects where one object knocks into another. Intelligent Companions Companions are becoming a more important part of many game franchises. Giving the player assistance, support and praise through believable NPCs is an essential component of Djinns brand of heroic questing. Our unique twist on companions is the Crew concept. The crew members are in- triguing, multi-purpose characters who are also lesser heroes in their own right, much like the Argonauts (the Greek heroes who made up the crew of Jasons ship Argo). They can be added or removed at any time to the questing party, and each one has unique powers that the player will enjoy experiment- ing with. In combination, crew members may reveal addi- tional abilities. They will never compete with the hero. 7tx
Pagc 8 Confdcntial Information The Card System What are Cards? Djinn is designed to be a modular system that allows the player to make signifcant changes to their own game play experience. A player may alter their characters skills, recon- fgure their quests, select their companions, and even make changes to the world itself. These modifers are contained in virtual cards that the player may collect, trade, buy, or sell with other players. Cards are currently being used as a metaphor for a system of tokens that can be applied within the game. The fnal game pieces will most likely take the form of artifacts or scrolls, not tarot or playing cards. Regardless of how the player wishes to manage their cards, everyone begins with a basic set (a virtual deck) that contains fve types of cards: SkillCards, HeroCards, QuestCards, WorldCards, and CrewCards. By playing combinations of these fve types, the player is able to explore different locales over and over with very different experiences. The frst step in using them effectively is understanding the different types of cards. Types of Cards Skill Cards: Skill cards are a collection of spells and physical talents that the hero can use to affect the world. Most, but not all, are combat related. These cards are further divided into seven sets: Sorcery, Curses, Enchantment, Archery, Brawling, Profciencies, and Swordfghting. When a player prepares to enter the world, he may select cards from any two sets (up to ten from each set). These skill cards then represent the players abilities as well as defne the players class (each com- bination of two sets of skills represents a unique character type which in turn provides the player with additional abilities unique to that class). These cards can later be removed from play so that the player may try other combinations (provided there are cards from only two sets at a time) at limited inter- vals during the game. Hero Cards: Hero cards are similar to skill cards in that they provide the player character with additional abilities. There two major differences. First, these cards may be used regardless of the characters class. Second, only fve of these cards may be in play at a time. Hero cards are also different in that the abilities they provide are usually on a grander scale than skills and the frequency in which they are available to apply is much lower. Moreover, hero cards are most effective when used in conjunction with runes. Quest Cards: Quest cards serve two purposes. They specify the goals that a player must accomplish in order to continue in the narrative and/or receive rewards. Quest cards also defne the amount and type of modifcations that may be applied to quests. For example, a player may activate a quest card that tells him to slay an evil ogre in order to rescue a wise man. It may further defne the quest by limiting the number of world cards to three (see World Cards) and allowing two crew members to accompany him. World Cards: World cards are played at the same time as quest cards, just before an adventure begins. While their effects are quite diverse, they primarily modify the playfeld based on their description (though it is often a cryptic description, the player will grow to learn how to apply their powers to suit his needs). This diversity will add to the games capacity for exploration and replay as well as reward the player for his efforts. Examples of world altering effects include decreased gravity, slowing of time, always daylight, and dampened magic. World cards other function is largely altering the pa- rameters within the quest such as experience, gold, type and number of enemies, and value of dropped items. Crew Cards: Crew cards defne the non-player characters that can be included in the heros party during a quest. Different cards may describe the same crew member at differing ability levels or slightly different skills. While these cards are played at the time a quest card is used, crew members may be swapped at any time during an excursion by sending one member back to the ship in exchange for another member. Booster Pack Online Concept Castaway is ready to take for-pay online content (micro- transactions) to a new level of addictiveness and fun in Djinn. Players can buy new quests that they and their friends can access, with unique new items and other cool things becoming available only from these quests. This concept essentially lets players consume content at their own rate, allowing casual and hard-core players to both enjoy the game their way. Quests are derived from Booster Packs that are simi- lar to those used in collectible card games, and open up new quest locations, islands, factions, etc. when purchased online. Booster Packs would come out every 2-3 months, and like collectible card games, you can only get the latest cool stuff by buying the Booster Packs. Pagc 9 Confdcntial Information Booster Packs have particular favors or styles that are overtly designed in, and listed online. This means that players can have a more open game where they do what they like best. Booster Packs allow players to play forever, a common request from fans. Some Booster Packs would open up entire new islands or even continents or magical planes that were previously inaccessible to players. Each additional pack allows unique, customized item drops within the Booster Packs-specifc quests. New booster items are generated reactively, based on their personal PCs current story path and class choices. Players have a chance to fnd new items every time they play an Booster Packs, because the system cre- ates content procedurally, rather than simply accessing a fnite database of hand-generated items. Some Booster Packs items are famous, with a leg- endary heritage, or a special requirement or limitation that is well-known. Some even have special aspects not available in the basic game, like a demon bound into a weapon. Some may even cause the user to become hunted or favored by magical beings such as Djinn. Players can also fnd unique ship modifcations. For example, some ship modifcations are linked to their monster kills, like a head of a unique creature mounted on the prow of the ship. Other modifcations might include a special ship-borne weapon like a magical ice ballista that can be added to the ship, or even a potent magical enchantment to the ship. Booster Packs reveal new NPCs who offer special quests, skills, information, enchantments, or legendary items only available on that island. Booster Packs may also include new shrines and such locations previous secret or hidden. Some packs may offer new crew members with special knowledge and skills, who are not available to ordinary players who play only the basic game. The base set or starter pack has everything you need to play a great game playing only with this is not a crippled experience, by anybodys standard. Adjustments to the game world the player accesses via a Booster Packs include: Their world map is updated if there are any new islands opened up. They gain the ability to contact and join new major factions based on the island, and gain new quests, items, and allegiance from them. New trade routes open up for them, with new ship- based adventures becoming available that may include special events not seen previously, such as a water- spout that leads up to a city in the clouds. New monster ecologies are created. Additional secret locations, often magical in nature, and contiguous or accessed from the new island, become accessible for purchase of entry, along with a chart or secret map. Pagc 10 Confdcntial Information Fate Cards: Our Hook Why do we think our hook is such a strong one? The following diagram shows all the diverse ways Fate Cards contribute to the game: Pagc 11 Confdcntial Information Business Model The business model predicts that increased play will add increased value to additional micro-transactions and time spent online, with the process being self-reinforcing. The fow of customer choices and achievements can be diagrammed as follows: ar7ik 1
Pagc 12 Confdcntial Information Visual Presentation Style Overview Next-generation platforms will require much higher quality visuals. Excellent graphics are increasingly expected by cus- tomers and both high visual quality and a recognizable overall style will be essential for games that wish to stand out. Magical Realism Style Djinns photorealistic, but uniquely surreal and magical visual style will be achieved by a combination of art direction and technology. This will give the game an overall recognizable look, validate the game for next-generation hardware buy- ers, and add interest and immersiveness to the overall game experience.
Key Style Factors Factors making up our style will include the following: Selective use of exaggeration. For example, unusually rich, intense colors and details, used on an otherwise realistic model or object, creating a surreal juxta-posi- tion. Incredible sense of scale. Use of selective blurring to create areas of soft focus on actors, objects and the playfeld. Dramatic use of lighting to create hot spots and areas of darkness within scenes. Actors and magical FX will move in and out of these areas, creating an unusual stylistic feel. Elongated shadows. Selective desaturation technology, for making hot- spots stand out against mute darkness. Modeling of certain costume elements and objects that are just slightly distorted, to add another touch of surrealism to an otherwise very realistic shape. Mild stylization to certain elements. Weapons and armor will be only slightly stylized. Background ele- ments will have more dramatic stylization. Subtle but very pervasive use of FX to create the feeling that magic is everywhere. Even such elements as water, fre, mist and light may have magical tinges of FX and color. This concept also includes subtle motion blur and trails. Visual Themes Used f or Style The following visual themes will be a part of our treatment: Extensive use of imaginary Moorish-style calligraphy, integrated into location elements such as rugs, books, tapestries, etc., and also used in interface art and in magical incantation FX. These magical letterforms will help give the whole game a unique look. For ex- ample, note the red calligraphic section headers, such as the one to the upper right, and the gray decorations on certain pages. Visual references to story elements, such as the impris- onment of the Djinn. Gameplay-related visual elements, such as decorative gems for a statues eyes that can be collected. Magic expressed through environmental decorations, such as symbols shown in wall carvings that also ap- pear in powerful new magical spell incantations. Foreshadowing of gameplay within environmental artwork such as paintings or tapestries depicting faces that match the faces of nearby powerful boss characters. Hidden or only faintly seen magical forms, items and beings, at the edge of visibility. Heat shimmers and other effects give the player a hint of what is out there. Only the right Crew member or spell will reveal these things. Ocean edge locations such as beaches, cliffs, seaside villages, coves, ports, and mysterious sea grottos. Weather. Rain, clouds and mist, storms are heavily used. Magic, as expressed not only as FX but in calligraphy and symbols that are uniquely created for this game. Extensive weathering effects, such as tarnished areas on weapons or crumbling areas on a building. Atmospheric shading (focus, color) and forced per- spective, to enhance the vast scale of playfelds. i61 Pagc 13 Confdcntial Information Other Key Visual Techniques Use of magical trails for magical weapons. Refections on water. Mirrors. Heat shimmers. Sparks. Blowing dust. Dust trails. Footprints. Key Visual Elements Character Design Character design for the Hero, Crew, and monsters will use layered elements of clothing and armor that will help to achieve the following aspects: expound on their individual roles, imbue each character with a sense of past, fesh out their individuality as characters, and build in a level of detail and believability. Identif iers The use of one or two elements as key identifers for each character will make them instantly recognizable; a very useful device for the player that is deep in a dungeon and involved in intense combat. Silhouette and Shape In order to further develop a unique style, and give the player additional visual information that will contribute to gameplay clarity, we are creating characters and enemies that will have highly recognizable shapes, even when only the shadow is seen cast across the foor of a dungeon Backgrounds Backgrounds will start with real world cultural elements but scale them out to give a greater sense of grandeur and a more heroic setting. Using such real world elements will help to give the player a sense of location and potentially an insight into the myths that we will be drawing on.
Progression of Visual Fantasy The deeper the player progresses into each island setting, the more fantastic and magical the settings and locales will become; taking cues from the story and borrowing elements from each islands base cultural mythology. Yet even the fan- tastic elements will keep a realistic level of detail to maintain a sense of believability.
Color Use Backgrounds will use colors that emphasize the exotic loca- tions, and lights to set mood and give a sense of time. The environments will also incorporate special accent colors to work with lighting and atmosphere to unify the scenes and create our signature surreal style. We will avoid the desatu- rated earth tones prevalent in many RPGs, while also avoid- ing the stylized hyper-saturated look of the more cartoony RPGs. Camera Djinn will have a sophisticated 3rd-person camera system that will be environment / combat situation specifc. The following features will be developed: Different camera treatments will be used to increase immersiveness and to highlight specifc visual situa- tions, such as a vast cavern with a narrow bridge over it, or a dark dungeon lit by a single magic orb. All camera behaviors will be programmatic, never under user control. Spline and zoom camera movements will be used when appropriate. Collision and camera are hand-mapped. The camera will never be placed in an area that could permit an object or playfeld element to get between the camera and the hero. Verticality Djinn will present the player with intensely 3D levels and verticality in terms of visual presentation. This is a world that could not be depicted without 3D technology. Examples of verticality will include: Multi-tier levels. Atriums inside buildings. High fortress towers and walls looking down over a plain. Bridges and causeways that stand high above a lower area. Balconies looking across vast gaps. Caverns with dramatic stalagmites and stalactites. Distantly visible stairs and doorways that the player will want to fnd a way up to or down to. Bp sahrrwzv5ji
Pagc 14 Confdcntial Information Vast magical statues or enchanted tapestries that the player will want to look at carefully, but where initially the player will only be able to see the bottom. Climb- ing stairs or ladders or fnding a way up to the top will progressively reveal more and more of these special objects. Lighting We are using advanced dynamic lights, per-pixel lighting, and more. We are pushing lighting as a component of both visual beauty and of gameplay, via creating situations with mystery via pools of shadow or glowing magic, where creatures can emerge or a magical item can be found. Lighting techniques will include: Dynamic lights for spell projectiles. Bloom effects. Extensive colored light sources for magical areas. Realistic fickering for torches, fres, magical gems, and similar objects. Hot spots and shadow areas used to increase the sur- real style. Animation Actor Animations Extremely dramatic and fast combat moves with an over-the-top style. Not motion captured: this would detract from the visual style and force excessive literal realism onto the experience. Killing moves will be spectacular, with variants. Playf ield Animations Water ripples. Plants moving in the wind. Morph targets for unusual magical areas that are enchanted and alive. Interf ace Presentation Interface elements will be in full 3D with details of items and player equipment / costume pieces normal mapped for superb quality. World Map Our animated world map is an important visual element of the game. The World Map not only shows exploration and quest progress, but also highlights the fact that the player is changing the world. Features Full 3D. Gives a sense of the vast scale of the world, and the enormous distances between the individual islands that form the great Archipelago of the Shattered Isles. Animated elements such as ships, fying Rocs, sea serpents, and magical entities add a fantastical favor to the otherwise photorealistic visual treatment of the map. Shows the next place that the player needs to go to. Shows open quest locations. Shows area explored. Shows unexplored area (in shadow). Changes based on story, Changes based on player exploration. Shows the edges of the known world. yu
Pagc 15 Confdcntial Information Intellectual Property Key Aspects 1. Inspiration and Emotion A key element of the Djinn IP will be the positive, heroic feelings generated by the game. Players will fnd that they are engaged in legendary voyages and quests within a magical world that they care about, and that they can infuence. The overall progress of the player through the game will be dra- matized using the psychological factors of myth and heroism expressed in the work of author Joseph Campbell. 2. Unique Content Based on the classic voyages of Sinbad, Ulysses, and other famous sea captains, Djinn focuses on heroic combat, bold exploration, and the discovery of forbidden artifacts of power, all within a vast ocean world of magical islands and storm-tossed, sea-serpent infested waters. Unique concepts include: The player is a famous ship captain with an incredible magical ship and a crew of heroes, like Jason and the Argonauts. Ocean game world flled with magical islands that come in all shapes, sizes and cultures. Forbidden magic. Unique, intelligent monsters with ecologies and whole civilizations, including the Djinns themselves. Extraordinary companions who are members of the Captains crew and support and advise him. 3. Visual Style We are using the latest graphics technology to create a unique Magical Realism look for the game that will sweep players off into a realm of fantasy and beauty. Content Teasers Myth: The Pre-History of Djinn There have always been the Djinn. They are beings of varied form, enormous power, and eternal life. But they have one great faw: distrust. It is because of this overwhelming sus- picion that they have been unable to create anything greater than themselves. Then there were the beasts: the playthings of the Djinn. Many were tormented, afficted, changed. Some became monsters that hid away from the world, some bred and grew to vast numbers that thrived on other creatures, others just withered away never to be seen again. Finally, there was man. Man is weak, powerless, and fragile. The Djinn hardly noticed man, at frst. A few were warped like any other beast. But because of their frailty they were mostly left alone. But men had a great ability that the Djinn lacked: the ability to combine their efforts to accomplish colossal feats. They built cities, created art, and discovered magic, the domain of the Djinn. When the Djinn discovered what men could do, they became jealous and enraged. They turned on mankind and strove to obliterate him from the world. They almost succeeded, but some men studied the Djinn, and learned the ways of magic. These few we know as the magi. After almost wiping out every city but those on the edges of the great continent, a band of mages came together and formulated a plan. They reasoned that though they could not extinguish the Djinn from the world they could contain them. So they created magical vessels numbering seven hundred by seven hundred to imprison the Djinn. Unleashing the nearly limitless power of magic against the Djinn, the mages rendered earth, sky, and sea, working in unison against the solitary Djinn one by one, imprisoning each before turning on the next. For thirteen generations their war raged: not one of armies and soldiers but one of storms and fre. In the end, the Djinn were all hunted down and captured, but the world was shattered, splintering the land into a thousand islands. Pagc 16 Confdcntial Information Despite their victory, the mages were feared and loathed by mankind for the destruction they had wrought on the land. Men who wielded the power of the Djinn were no better than the Djinn themselves, and the forsaken mages quietly disappeared. Those people that survived eventually rebuilt their cities, and while they could never again unify these now distant provinces, there was one decree that they unanimously agreed to enforce. Because of the great destruction and death it had caused, magic was then and forevermore banned. Without the Djinn, there was no need of magic. And without magic, the Djinn could never harm man again. World Design A World of Islands Djinn depicts a unique world that is very different from our world in some respects. In the world of Djinn, there are no large continents. Instead, the world is an archipelago of hun- dreds of large islands, each separated by enormous expanses of ocean. Many islands have never been explored. Others are reputed to move from one location to another, or are lost in magical fog. There are even legends of a waterfall at the edge of the world. As a result of the distances between islands, human cultures are greatly diverse and often out of contact for many years. Trade is limited to a few daring sea captains who brave the monster-haunted waters between the major island civiliza- tions. The player is one such captain. Only a true hero would dare to sail the seas, much less explore new islands where almost anything can happen! Magic and Magic Users Magic and supernatural phenomenon are known and accept- ed, but both are greatly feared. The supernatural comes in many forms: the cursed living dead, mythical beasts coming out of hiding from their many secret locations in the world, magic animating everyday inanimate objects through the power of a sorcerer, and evil spirits that take physical forms. The greatest of these spirits are known as the Djinn. These evil spirits enjoy tormenting mankind either through minor mischief, or through vast destruction. Most are capable of turning invisible, though lunatics and madmen claim they can see the evil spirits everywhere. While the practice of magic is abhorred and considered a corruption of nature, magic spells and magically enchanted weapons are the only known way of combating the evil spirits. Some users of magic still exist. These feared magic casters are the sworn enemies of the Djinn, as it was they who cap- tured the Djinn and placed them in bottles and lamps. Magii live in secret societies and fear being discovered by the known populace. Some of these secret societies are specifcally dedi- cated to combating the evil spirits of the world. Monsters Amongst the rare mythical creatures of the world are the sphinx, the phoenix, the cyclops, and the Great Sea Serpent. Stone sphinxes are guardians modeled after live sphinxes. The live variety consists of wild and solitary beasts who feed on any creature they can, including men. Stone Sphinxes are living statues and either stand guard outside a doorway, or reside as a solitary sentinel outside a building. The largest of sphinxes traditionally require the answer to a riddle to allow safe passage. The Great Sea Serpent is a legendary creature that swims in the deepest ocean near the edge of the world. Hundreds of feet in length, mere swords cannot harm it, and it can destroy ships merely by bumping them. It is rumored that near the edge of the world is a lighthouse with a horn that is blown to keep the monster at bay. Story Overview Playing the role of a renowned ship captain, the player will gather a crew of heroes in order to rescue a princess from a recently released ancient being known as a Djinn. Competing with a brash woman and a duty-bound captain of the guard, each with their own ship and crew, the player will adventure to strange and dangerous islands of seers, Cyclopeses, and sphinxes to fnd the princess, only to be tricked by the Djinn and trapped in a tormenting illusion inside the Djinns bottle. After a daring escape involving enemy fortresses and a trip over the edge of the world, the player will face not only his feelings for the woman who thwarts him at every turn, but also the man who seeks to stop him for the good of the kingdom. Finally, the player will confront the Djinn in the Sultans palace itself and re-imprison the Djinn for the safety of the world. Rps Pagc 17 Confdcntial Information Production Inf ormation Production Scope We recognize that the amount of resources that a publisher puts into Djinn will determine the kind of game that Cast- away can create. If a publisher wanted to create an AAA title which had cutting edge graphics, advanced gameplay, and high potential for replayability then a higher investment (in terms of both time and money) will be required. We believe that we have the right combination of team and technology to make that investment proftable in the long run. We can work with publishers to fnd the optimal balance of invest- ment and risk to make the best game possible. Console Multi-Player Approaches Djinn is being designed to be a primarily single-player experi- ence, but we would like to take advantage of next generation online services and features. We feel that online play should compliment the single-player console action. Naturally console online support is planned. Also, we have a very experienced multi-player team (including some of the top programmers and designers from Diablo II and battle.net) so we are not opposed to the idea of pursuing a complex multi- player design strategy, if a publisher is willing to invest in it. We have intentionally created a universe which can accommo- date extensive multi-player features which we can be ready to pursue immediately. Our experience seamlessly melding the single-player and multiplayer experiences in Diablo II will be invaluable if a full console online approach is taken. As next generation console requirements are revealed, we will further address this issue. Content Generation We have the technology know-how to build a programmatic content-generation engine for our RPG. This technology will allow us to create exciting, always-new content that will make the game feel different to the player with every replay. We will be able to leverage our investment in our programming and art resources to create a much larger world than would otherwise be possible. This world would react directly to the players actions by changing the players interactions with his NPCs, creating new monsters or content depending on the characters decisions, and change the world to ft the players playing style. Value Added by EA Electronic Arts was an important resource for Castaway throughout our 12 month partnership. They provided us the resources to complete our preproduction, streamline our production pipeline, and create several, playable levels in which to test our technology and design concepts. In addi- tion, after our partnership dissolved, the technology, IP, and all milestone payments stayed with Castaway. This allows us to proceed to the next partnership without any liabilities. Using these resources, we have grown our team to 25 profes- sionals, and are ready to start full production on our game as soon a new publisher is signed. Technology Opportunities Castaway is in the process of developing a very strong game engine (technology) that is very effective in being the back- bone for a variety of RPG games. While we think that we have a very strong IP of our own, we are very open to talking to publishers about using our engine with other projects and a licensed IP. We think that we have a very capable team that can add tremendous creativity to any RPG project and create a fun, original, successful game. Pagc 18 Confdcntial Information Technology and Tools Middleware Past We are a licensee for NDL and are using the latest version of Gamebryo, so we have the basic framework for our graphics engine, and have already made tools for exporting models and animations and importing into the game engine. However, we feel that Gamebryo has fallen behind in next-generation compatibility and features. Current We are migrating the product to use Epics Unreal 3 Engine to take advantage of the included physics engine, Novodex, as well as more advanced rendering features. Cross Platf orm We are currently developing on the PC but are using Unreal 3, which supports current and future consoles. Technologies DX9 support, backwards compatible to DX8. Stunning visual and special effects via Vertex and Pixel Shaders including parallax mapping, normal mapping, and unique x-ray technology. Dynamic, real-time per-pixel lighting. Bloom flter and other post-processing effects. Real-time shadow casting. Data driven design. Capable of randomly constructing levels. 3D Sound. Custom physics solution. Unicode support from the start, foreign language sup- port just requires translation of text and voices. SpeedTree licensee for foliage. Componenting of NPCs (not just PC). WinXP/Longhorn, 1.7 Ghz P4, 256MB RAM, 128MB DX9-compatible 3D card . WinXP/Longhorn, 3 GHz P4, 512MB RAM, 128MB DX9-compatible 3D card. Adaptive Content Gen- eration One of our key technologies, procedural, or to be more accurate, adaptive content generation, is also the crucial foun- dation for much of the design innovation in Djinn. Features of our system include: Adaptive generation of content based on our proprie- tary reputation system. Content includes 3D dungeon / outdoor foor plans, populations, treasure, etc. Customized side quests are also generated based on our reputation system. Content is generated with a random element to create unpredictability. Randomness is structured, and based on playtest-proven tactical confgurations and tables. Randomness is also calculated without replacement, for the best player experience. Adjustments are made to gameplay parameters and rewards, based on the way the player plays the game, as tracked by our reputation system. Tools Chain Powerful custom tools for assisting in creation and layout of levels without the intervention of programmers, permitting designers to preview game features without having to load up the entire game. Pagc 19 Confdcntial Information Company / Team Inf ormation Company Castaway Entertainment is dedicated to making roleplay- ing games that people like to play. We are a small team of industry veterans with excellent experience in the creation of top-selling RPGs. Major Titles Major titles the team has worked on: Diablo Diablo II Diablo II: Lord of Destruction Pool of Radiance Munchs Oddysee Sonic II The Sims Kid Chameleon Unreal: Tournament Edition Diablo II Having worked side by side at Blizzard North for many years, members of our team shared responsibility for the award- winning titles Diablo, Diablo II and Diablo II: Lord of Destruc- tion. Diablo II was the fastest game ever to sell one million copies, according to PC Data, and sold over 10 million units worldwide. Amongst Diablo IIs awards are: Game of the Year - Academy of Interactive Arts and Sci- ences Game of the Year - PC Dome Magazine Best PC Game of the Year -- 2000 ECTS Awards Roleplaying Game of the Year - Academy of Interactive Arts and Sciences Roleplaying Game of the Year - PC Dome Magazine Editors Choice Award - Computer Gaming World Editors Choice/Game of the Month - PC Gamer Editors Choice Awards - GamePro Team Members Michael Scandizzo, President, Project Lead Michael designed and built the Diablo II Battle.net game server network, supporting hundreds of thousands of users around the world. In addition to architecting the structure of the code, advancing random level generation, writing a custom windowing system, and creating all the character creation and chat screens, he was also behind many of the popular skills in Diablo II, such as corpse explosion, necro- mancer curses, and frewall. Before coming to Blizzard, while working as a Windows and embedded system engineer for a small startup, he was the creator and project lead of the most popular Quake II mod ever made, Lokis Minions Capture the Flag (LMCTF), as well as many shareware titles. Michael worked at Blizzard for fve years. Stef an Scandizzo, Vice President, Creative Director Graduating from University of California at Berkeley with a degree in Integrative Biology, Stefan left medical school to pursue a career in computer gaming. He began working professionally in games at Banjo Software in 1997 where he was a character modeler and animator for the Doom II total conversion Hacx. Then after almost a year of work, he joined Blizzard Entertainment in 1998 as a level designer. While at Blizzard, he developed key functional elements for Diablo IIs random maze generation and also created much of the dun- geon layouts using both his artistic and programming skills. He continued his level designing in Diablo IIs expansion: Lord of Destruction. In 2000, Stefan started producing 3D monsters for the character team for an unannounced upcoming sequel. After fve years, he departed from Blizzard to co-found Cast- away Entertainment in 2003. Rick Seis, Technical Director Richard is an industry veteran with more than 11 years of experience on over 6 shipped titles with Blizzard Entertain- ment. Starting in 1994 with Condor, Inc. which later became Blizzard North, he saw the team grow from just 4 employees to over 60 working on 2 simultaneous projects. He has held positions of Programmer, Senior Programmer, Lead Pro- grammer, Director of Technology, and Studio Lead. During his time with Blizzard, Richard has learned countless lessons about the development process, always maintain a standard of quality, and most importantly, while development is fun, it Pagc 20 Confdcntial Information is also a business. Richard has worked on titles for the Game Boy, Game Gear, Genesis, and the PC, but his real affection lies with the Diablo universe. He was a primary contributor in creating the Diablo universe and its subsequent games - Diablo, Diablo II, and Diablo II: Lord of Destruction which have sold in the 10s of millions of units. Before leaving Blizzard, Richard held the position of Studio Lead on an unannounced project.
Broderick Macaraeg, Art Director Having graduated from U.C. Berkeley with a Bachelor of Fine Arts, Rick has contributed artwork for thirteen titles in the past thirteen years. Among his credits are Unreal: Tournament Edition, The Sims, several Sim City titles, and Sonic 2. He has created and animated 3D models, texture maps, user interface art, storyboards, and served as both art director and game designer on various titles. His abilities to both concept game worlds and develop visually strong characters will help gener- ate a strong foundation for the project. Peter Brevik, Project Manager Peter started his game developer career as a programmer on Diablo and Diablo II. His work involved user interface, player skills, party system, random level generation and group game- play. He then moved on to a role as a producer on Diablo II: LOD organizing workfow and assuring the integrity of the content pipeline. As a result of his efforts and of many oth- ers, Diablo II: LOD became the frst Blizzard North product to ship on schedule. Peter has also worked as a producer on other unannounced projects at Blizzard North. Peter worked at Blizzard for seven years. Bill Dunn, Lead Designer Bill has a BA in Design from Stanford University. After designing many paper RPG supplements during the 80s, he began working in electronic gaming with Hound of Shadow, an RPG based on the Call of Cthulhu license (PC, 1989, EA Europe). At Sega he worked on Kid Chameleon (Genesis, 1991, Sega). He co-designed Silencer, an online Action / RPG that was one of the frst online games with full real-time combat (PC, 1997, WON.NET). Bill has shipped 3D titles on PS, PS2, N64, GCN and Xbox. In 2004 he was lead designer on NBCs Fear Factor Unleashed game (Xbox / PS2 version, sched- uled for release in 2005, Arush). Alan Ackerman, Senior Artist, Designer Alan joined the video game industry in 1990 when he was hired at SEGA. While at SEGA he worked on projects for the SEGA Genesis, Saturn, and Titan Arcade platforms; and on such titles as: Kid Chameleon, Sonic Xtreme, the Ooze, and Die Hard Arcade. His art skills evolved from 2D art and animation to include real time 3D art and animation. In 1997 Alan worked at Sony Computer Entertainment America on the real time 3D Playstation game Warhawk 2. In 1998 Alan joined Blizzard North to work on Diablo II, Diablo II: Lord of Destruction; doing background art; designing and creating character specifc inventory items. Alan worked at Blizzard for four years. Marc Apablaza, Lead Character Artist Marc began his game career in 1995 with Knowledge Adven- ture as a character artist for KnowledgeLand and KnowledgeLand 2. He then moved on to Pulse Entertainment where he developed real-time character assets for online avatars. In 1998, he joined 3DO and contributed character models and animation for several titles including Crusaders of Might and Magic, Sarges War, and Four Horsemen of the Apocalypse. Most recently he worked at Pirate Games as a character creator. He has the wide range of skills required for character creation: modeling, texturing, and animating.
Kelly Johnson, Senior Artist Kelly developed characters from their concept phase through to the fnal animations. He modeled and animated several NPCs and monsters in Diablo, including Deckard Cain, Adria the Witch, and the Succubus. On Diablo II, Kelly designed and animated the character of the Paladin, modeled and animated the Fallen and Sand Raider monsters, and created end-to-end the monsters Fetish and Shaman. While a skilled modeler, Kelly prefers animating. He is skilled in both Maya and 3D Studio MAX. Kelly worked at Blizzard for nine years. Fredrick Vaught, Lead Background Artist As a background artist he designed, constructed and built several indoor levels that matched the overall atmosphere of the Diablo universe. His diverse skill set not only as a back- ground artist but as a technical background artist allows him the opportunity to lead his team to resolve any confict with a tile based system. Fredrick worked at Blizzard for four years. Michael Huang, Technical Producer/IT Specialist Michael is an avid gamer who has worked on multiple titles for Blizzard starting in 1997, including Diablo II, and Diablo II: LOD. Aside from his skills in networking, computer maintenance, and application confguration, Mike has a great deal of experience playing computer role-playing games and has learned to analyze and evaluate game systems. This knowledge makes him ideal for assisting our design team in game balance. He is also well suited to organize play testing and manage our bug database. Michael worked at Blizzard for six years.