Every time I plan this, I try to get everything set up early and every time I think I’m not going to be up too late. Some of my non work-related adventures this year Occasionally, I’ll still slip into that overworking mode for short spurts but I’ve learned to keep a better balance overall. But it’s not healthy and I want to continue making games without burning myself out.
I used to work like this for long stretches of time without breaks. Working 70+ hours a week is not sustainable. In the future, I might need to rethink how I’ll be distributing a game.
SALLY FACE 2 UPDATE
Additionally, when there are big gaps in releases (with new episodes) plus software updates (Unity and plugins) it can sometimes create issues when users update their older files. Whenever I have to do an update or a patch, I now have to make 14 builds and upload them to four different sites. The episodic format becomes a nightmare to manage over time. That turned out to be very helpful in keeping my motivation going. I also planned from the beginning to evolve the game as I went, so that I was always looking forward to making the next episode. So the episodic format was great to work with in that regard. Keeping the project short and taking breaks in between really helps to prevent burnout. I’ve also worked with a group of awesome volunteers for the translations, which I wouldn’t have been able to do on my own. One less thing off my plate and they’ve been getting some cool merch stuff going. I’ve also recently partnered up with Brand Central, who have been handling Sally Face merchandise, which is great.
So even when the game started making some money, I still wanted to see it through on my own.įor my next game, I may contract out some artwork to help speed up the process. It was a project I had been wanting to work on for years and I liked having something that could be my personal creative outlet. I began working on my own out of necessity (I didn’t have any budget) but also out of passion. That means answering emails, fixing bugs, cutting trailers, making marketing materials, writing press releases, traveling to conventions, doing bookkeeping, managing social media sites, etc. Not only that, I also do every other aspect from marketing to PR to support. I create everything in the game myself: art, music, writing, design, sound, animation and so on. This project has been a solo endeavor for me. Old work space vs new work space Working on my own I now develop my own games for a living something I had been working up to for about 7 years prior.
SALLY FACE 2 FULL
In 2016 I began working on SF full time and it has changed my life. I went through a lot of personal struggles during development, which the game ultimately helped me through (I’ve talked about this in detail in previous posts, so I won’t get into that here).
SALLY FACE 2 FREE
I started working on Sally Face in my free time, around 2014/2015. Yet, to me, this work is very rewarding and I wouldn’t trade it for anything. Though honestly, that’s only the tip of the iceberg. I hope that the above stats can shed just a little bit of light on the sheer amount of work involved. For many people, it’s tough to understand how much work goes into developing a game. I’ve poured so much of myself into making this game, at times giving too much and then learning to find a better balance with life. My blood, sweet and tears went into this project. The final project has over 4,000 art assets and over 1,000 animations. In that time, within the span of 5 episodes, I’ve created over 80 characters, 54 environments, recorded 56 songs, wrote thousands of lines of dialog, designed 70 puzzles/challenges and mixed over 500 sound effects. I’ve been working on Sally Face for the last five years of my life.
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