Amnesia - One year later

Introduction
A year has passed since we first released Amnesia and a lot has changed for us at Frictional Games since. We have gone from being pretty much out of money, to being financially stable in a way we never thought we would be. Everybody in the company has gotten raised salaries and we have more than enough money to complete our next game.

Our financial situation is far from the only change though. The success of Amnesia has led to us getting a lot more known among players and the press. Reactions to the game are still pouring in, and it feels extremely good and humbling to be able to have that kind of impact on people.

With that little summary, now let's get down and dirty with some more detailed information. (And oh, see end of post for a wee surprise.)


Sales
Let's start with what most people probably are the most interested in: how many units have we actually sold? During the GDC EU lecture I noted that we were now above 400k units total, but as we scrutinized all of the figures it turns out this was not quite correct. Jens did a recount of all income we have gotten so far and the figure ended on 391 102 units (which is of course not correct when you read this as the game sells at about 2 mHz).

This sounds like a huge amount for sure, but there is something to consider with this figure. About 75% of all the sold copies, that is 300k, were on discounted sale. This is quite substantial really, especially when you note that a good deal (almost half) of the remaining 100k were sold at launch. In the end this amounts to around 50% of all our earnings coming purely from discounted sales (most at a 66% or higher discount).

While discounted sales indeed dwarfs our normal sales, the day-to-day sales are quite expectational as well. Right now we are selling around 6000 units per month at full price. This is actually more than enough to cover all salaries and operational costs for each month, which is a situation we still have not really gotten used to. Another interesting fact is that monthly sales have actually increased, they are almost double now from what they were half a year ago. What all this means is that we can work with a healthy buffer that makes it possible to take more risks and down the road spend more money on outsourcing for sound, voices, art and more. Both of which should allows to make our next game as good as possible.

The distribution between platforms depends a bit on how you count it. In our own store it is as follows:
Windows: 70%
Linux: 15%
Mac: 15%
However, our store is the only one that sell a Linux version of the game, so in total sales the percentage of Linux is a lot less. When looking at other stores the distribution is around 11% Mac and 89% Windows. The Mac percentage goes down a bit during sales, where Windows sales increase 3 times or so more compared to the Mac ones. An interesting note here is that Mac sales in our own store did not go down as a other online outlets like Steam started to provide mac versions; meaning it did not steal our customers but opened up to a new market. We think it is a good incentive for other stores to support Linux as well!

The final data regarding sales is the difference between physical and digital sales. As of now, a total of 35, 000 boxed copies of the game has been sold, or around 9% of total sales. This is not too shabby considering we had no release in Europe and that the American box came out half a year after launch. The money earned from a physical unit is much less than from a digital one, but a physical release can still be helpful (however, other problem arise that might make it not worth it, something we will cover later on).


Impact on Penumbra
As Amnesia gained popularity, we already had our Penumbra games up for sale. We were quite curious in seeing how these sales would be affected by Amnesia's success. As Penumbra is quite similar to Amnesia i terms of gameplay and mood, and that both were made by the same company, we thought that we would see a boost in sales and attention for Penumbra. Turns out that Penumbra was almost not affected at all.

The number of monthly visitors for Penumbra are still the same as they were before Amnesia. Same with sales; the monthly total is still a little above 500, which it has been for over two years now. The only influence Amnesia could have had is to keep the average up.

So why did Amnesia have no (or very little impact) on the sales of Penumbra? We think one reason is that main bulk of Amnesia buyers simply does not connect the two. While they are similar, the first look is quite different. Penumbra takes place in present day and Amnesia in the 19th century. Another reason is that whenever there is some exposure for Amnesia, Penumbra is almost never mentioned, so most people that enjoyed Amnesia never learn there is a similar game available.


User response
I noted earlier that the daily sales have gone up over the last year, and large part of that has been due this - responses from the players. Still now, a year later, once a week or more some new post about Amnesia goes up on reddit, youtube or a similar user generated site. This kind of constant bombardment of Amnesia related material has continued to raise awareness of the game.

The major example of this would be the the Amnesia WTF video that reached 4 million views before YouTube, because of mysterious reasons, removed it (here is a copy). Others include this pug picture that managed to spread quite virally, images like this one, and much more.

Another pleasant surprise was the amount of custom stories that have been made. In Penumbra we only knew of a single attempt to make a user-created level and that one was never released in public. For Amnesia at least 300 custom story projects have been started, and 20 or so have actually become completed, high quality, experiences. There has even been a Tetris clone made with the tools!

This surge in interest has made our community a lot more active too. A year after we released Penumbra: Black Plague, our forum was quite dead, having a post every other day or so. Right now we average about 200 posts / day, and all of it is pretty much thanks to the custom story creation. This has also spread to other parts of the forum, and there is a lot more general chatter, technical help between users, etc . It really shows that supplying users with creation tools is well worth the time.


The making of Amnesia
As a year has gone by a few resources on how Amnesia was made has popped up, so it seems like a good time to sum them up now:

The Terrifying Tale of Amnesia
A post-mortem of Amnesia at the Escapist, that describes what we went through when creating the game. It mostly deals with the financial side, but also on how corporate decisions lead to changes in design, screwed everything up, and other juicy stuff like that.

Birth of a Monster
The design and production process of the grunt monster, written by several of the people involved. Do not forget that there is a second part.

Evoking Emotions and Achieving Success By Breaking all the Rules
A talk I gave at GDC Europe about a month ago. It goes over a lot of the design decisions that went into Amnesia.


Next for Frictional
So what is next for us at Frictional Games?

First of all, we want to get up to speed on our next game. Since we spent all resources we had on getting Amnesia done, we had to start the new project without any sort of momentum. Added to this was the potato thingie that also took a lot of time (but was really worthwhile). This has lead to a discrepancy between design, technology and art that we just about caught up to now. We have done a lot of work on the next game, but it is not until now we are close to having a nice work flow.

Because of this, a major issue for us to fix is to be able to manage multiple projects. We want to have a nice reallocation of resources at the end of each project and make sure to keep the flow going. However we do not want to grow the company too much, and thus we are looking into other avenues. If everything goes as it should we will announce our first stab at a solution to this quite soon!

Another big change for the future will be consoles. The main reason for choosing consoles is purely financial. Right now our main income comes from very few channels, and we need to spread out the risk somehow. The other reason is that we feel we are missing out on exposure by not being on a console and not reaching as many players as we should be able to. Unfortunately consoles are really old compared to the PC right now, so it will be far from straightforward to develop for two platforms. Our current thinking is to make the console get a lower end version and make sure console specs influence the PC version as little as possible.

Finally, in regards to what our next project is about, the basic idea is to use lessons learned from Amnesia and then take it to the next level. We have mentioned before that the next game will not be as horror focused as our past ones, but still have a scary atmosphere. Our intention this time is to dig into deeper and more intellectually demanding subjects. Another goal for us is to get past having classical puzzles that break the flow, but without making the game into a spoon-fed type of experience.

We are all really excited about the future, with tons of ideas we want to try out and now with the resources to do so properly. This is the first time for us developing a project that we know we can fund all the way and not worry about tight resources. It will be very interesting so see what will be possible to create this time!


More questions?
Anything else you want to know? Well, you are in luck because the entire team will be available for an Ask-Us-Anything at Reddit! Just go here:

http://www.reddit.com/r/IAmA/comments/k9vwj/we_are_frictional_games_creators_of_amnesia_the/

It is really simple to register at reddit, so just do so and fire away in case you are curious! And do make sure to up-vote it so it gets some exposure!

And finally, thanks to all who have supported us, pre-ordered our games, put up crazy stuff on the internet, provided help in the forums and in other ways helped to spread the word!

Amnesia Post-Mortem

A post-mortem for Amnesia is now up on The Escapist. You can read the whole thing here:

http://www.escapistmagazine.com/articles/view/features/9011-The-Terrifying-Tale-of-Amnesia

While not short, the article is a bit edited and does not go into details on all events. Still it should give a pretty good overview of how Amnesia came about.

Birth of Monster. Part 2.

(Not read part 1? Do so here.)

Molding the Abomination
by Olof Strand (www.OlofStrand.com)

As a modeler the first thing I noted about this character was that the concept design demanded it to be completely unique in all of its parts. Usually it is possible to mirror some parts (e.g. an arm, a leg or some cloth piece) to save texture space and maybe some production time when modeling game characters. Not so this time.

The character was based on a human body type with various deformities and modifications done to it. This meant that I could easily use a regular human base mesh as a starting point. Using already existing meshes as a starting point is, when possible, very important for production efficiency.

Another thing that needed to be taken into consideration was how the character would be rigged for animation later on. In this case the rig would be shared with another character from the game and therefore needed to be built under certain specifications (joints in specific places, etc).

The basic mesh created before importing into Zbrush. (Click to enlarge.)

When the the base modeling was done, the mesh was taken into Zbrush for a sculpting pass. The purpose of the sculpting pass is to create details that can be projected on to the final in-game mesh to make it look more detailed than it really is. Since the proportions and general shape where already defined on the base-mesh these should not be changed too much and mostly only minor details were added.

All the separate parts of the base-mesh where imported into Zbrush as separate sub-tools. This made it easy to hide, show and mask parts off. It was also possible to assign different materials to the separate parts as a visual aid. In Zbrush the mesh was subdivided several times giving me more polygons to work with. Once there was enough polygons, new details and shapes could be added by pulling, pushing and using other various tools, almost as if it was a piece of clay.

The different subdivision levels in z-brush. (Click to enlarge.)

When the sculpting was done the lowest subdivision level was exported in obj-format to use as a starting point for the final low-polygon in-game mesh. The reason to make a new low polygon mesh and not use the mesh from sculpting is to optimize the number of polygons in the final mesh. This can be very important for performance when added in the game. The mesh used as a base when sculpting has a a relatively uniform tessellation (distribution and a size of polygons) and mostly a quad layout of the geometry (meaning that most polygons are four sided). The in-game mesh then had to be modified to only have geometry where it was needed. By doing this, more details could be added where really needed without decreasing any performance of the final mesh. This process is sometimes called retopologizing and can be done several different ways. Some people like to use the specialized retopologizing tools within Zbrush, but I personally like to use the regular modeling tools in my 3d software.

The final version of the low polygon mesh. (Click to enlarge.)

When the modeling was done it was time to create the uv-map. A uv-map is basically a way to show where parts of model belong on a flat surface, the texture. This is called a projection, and in this case a 3D to 2D one (the model is in 3D and the texture 2D). Unless the 3D object is a very simple one (like cube or plane) this is a very tricky operation and it is almost impossible to maintain the same ratios as on the model. A good example of this is to look at the various ways our planet earth (a 3D object) has turned into maps (a 2D surface) and all of the distortions and/or strange layouts that follow.

There are some conventions that should be followed when laying out this uv-map. The most important is probably to make sure to put seams (places where polygons split up during the 3d to 2d projection) in places where they are not very visible. This since it is often very hard to match up colors of pieces not next to one another on the texture. Seams can also mess up shading when using normal maps. On a humanoid character a good place to put them could be on the inside of the arms and legs for example. This character also have some irregular areas that have to be given some extra thought. For example the head had an unusual shape making the uv-mapping extra tricky. Once the placement of seams in the uv-map have been established the chunks where laid out to maximize the use of the texture space.

The uv-map layout. (Click to enlarge.)

Before starting the actual texturing work I generated colors for some of the texture maps from information in the high poly mesh. The textures produced this way were the normal map and an ambient occlusion (AO) map. The normal map gives the mesh some extra detail and makes it seem like it is made up from more polygons than it really is. The AO map was to be blended into the diffuse (the base color) texture to give a greater sense of detail and form. Basically, AO is a calculation of how much light reach each point on the mesh, making creases darker and pointy details brighter.

The diffuse map represent the base color of the character and was created in Photoshop by using a mix of various photos, custom Photoshop brushes and the previously mentioned AO map. The diffuse map was extra important as it was also used as a base for creating some other maps like the specular and gloss map. These two are black and white maps that control how light will affect the model. Specular determines the strength of shininess on an areas and gloss how sharp the shininess is. Some of the detail in the diffuse was also used to add extra details in the normal map, like wrinkles and scars.

The final normal, diffuse, specular and gloss maps. Notice that all use the uv-map layout as base. (Click to enlarge.)

Once the texture was completed, the model was ready to be used in-game!

Renderings of final model using different setups of texture maps. (Click to enlarge.)

It's Alive!
By Thomas Grip (Frictional Games)

Before the model could be used in game, some other things was required. First the model needed to be rigged and skinned, a process where the mesh is connected to a skeleton. This skeleton then need to get animations and not until that was done where we able to get a it into the game. This job was made in part internally and partly by an external company. There were a lot of job put into this, but is unfortunately outside of the scope of the article. To some sum things up: we got the creature moving and it was now time to put inside the game.

For Amnesia: The Dark Descent we use a proprietary engine called HPL2 which is a vastly improved and revised version of the engine that powered the Penumbra games (although quite old now as we are developing version 3 of the engine for our upcoming game). It uses a rendering algorithm called deferred shading at its core, a technique that is very useful when rendering lots of lights. It works by drawing out the the normals, depth, specular and diffuse colors to separate buffers and then use these to calculate the final color of a light. Normally when drawing a light, all models that intersect with the light needs to be found and then redrawn based on the light's properties. The nice thing about deferred shading is that models are only need to be drawn once, saving tons of rendering time and allowing more predictable frame rate.

Amnesia: The Dark Descent can be a quite dark game in places, sometimes making it hard to see enemies properly. To remedy this we added a rim lighting algorithm that made the creature's outline light up when in dark areas. This proved extremely moody and when walking in dark passages the player could suddenly get a glimpse of disturbing silhouette slouching off in the distant. After this final touch, our creature was ready to frighten unknowing players!

In-game screenshot showing of the rim-lighting on the creature. (Click to enlarge.)

Hopefully this article will give you some insight into the work that it took to create an enemy for our game. It was quite a long process and took several months from idea to finished asset but we think the final result is well worth it!

An in-game screenshot of the final rigged model in a scene. (Click to enlarge.)

Birth of a Monster. Part 1.

(The following was supposed to be an article in a Russian magazine, but was never published. So because of that, I decided to post it on the blog instead. It was written in June 2012 by myself, Jonas Steinick Berlin and Olof Strand. Jonas and Olof were working as contractors for Frictional Games at the time. )



Creating Unspeakable Guidelines
by Thomas Grip (Frictional Games)

The following article outlines the process of creating a creature model from scratch for our first person horror game Amnesia: The Dark Descent. It will go through the basic thinking that went into the design of the enemy, how the concept images where made, how the mesh was built and finally how it was put into the game. For this work we used two extremely talented external artists and they have themselves outlined how their horrific creations came about below and it a future part. Before moving on to their work though, I will detail the thinking that went into the basic design of the creature.

When creating a horror game, making sure that the antagonistic creatures are properly designed is an extremely important issue. One wants to make sure the player faces something that feels frightening and works with the game's atmosphere and story. Another important aspect is to make sure that the enemy fits with gameplay. Certain movements might be required and it needs to fit, size-wise, into certain environments and situations. Finally you need to make sure that it is within the constraints of the available resources, something that is really important for small company such as ours. Having these three guidelines in mind I will now walk through the process of coming up with the core requirements for the enemy codenamed “Servant Grunt”.

My favorite way to go about when creating a creature is to take something normal and then add a disturbing twist to it. I also wanted some kind of character that the player could easily project agency to and believe it has motivations, imagining it more alive than it might actually be. Because of this I decided that we use some kind of human or at least humanoid entity, which is a shape that is easily recognizable (no other animal walks like a human) and which we all assume have feelings, desires and motives.

The problem with having a creature which gets the characteristics of a human projected on to it, is that the player will also assume it is intelligent. Because game AI is notorious for doing stupid things, this could easily break immersion. Having enemies do simple tasks like opening doors, avoiding obstacles and investigating strange noises in a believable human-like way is very hard to do. Hence, we had to have something in the design that hinted of stupidity, making it part of the immersion were the enemy to do something silly. Usually this means making something zombie-like, but I really did not want have something that cliché. This mean that I wanted the creature should look and feel stupid, yet still be as far away from a zombie as possible.

Avoiding clichés is usually something that ones does to keep things fresh, but in horror games a lot more is at stake. It is vital that the player does not feel familiar with the dangers faced as it drastically decreases fear and tension. It is when we are unsure about something and not able to predict or makes sense that true terror really emerges. For example, when building one of the game's maps, there was a vast difference in perceived horror between using an old, familiar enemy model from Penumbra (our previous game) and the new one discussed in this article.

Gameplay-wise the main constraint was that it had to walk in some human-like fashion and not crawl or move on all fours. This because we wanted to have a base collision that could easily fit into a cylinder, making it easier to code. For the first Penumbra game, we had dogs as the main enemy which, because they where four-legged, caused tons of issues. Something we wanted to avoid that this time around. Making sure implementation of the enemy is simple ties into saving resources. It was crucial that we did not want to have too many unknown factors when making the enemies. By making sure that most of the game's elements where familiar to us, we could much easier assure that we kept to the timetable and could spend time on polishing other parts of the game instead of trying to find AI bugs.

It was actually not until all of the above was determined that I started to figure out the story behind the creatures. This is not always the way we do it in our games, but this time it fit very well. Our basic story designs only referred to the enemies as “the servants” and did not talk much about their appearance or where they came from, so I had a lot of freedom to make a fitting background story to the guidelines. The finalized idea was that these “servants” were actually beings from beyond that had been summoned into bodies of humans. Once inside humans, they did their best to deform the host into a body that they are used to control, shattering bones, tearing flesh and producing cancer-like growths. This in turned resulted in a scene where the player witness how some humans under great pain are taken over, showing how designing graphics can shape the story, as well as the reverse.

With these basic guidelines completed, I contacted Jonas to start on the concept art.


Conceptualizing the Horror
by Jonas Steinick Berlin (pudjab [at] hotmail [dot] com)

Thomas gave me almost full creative freedom. The basic guidelines were that it had to be a humanoid and nothing like standard zombies, "The Infected" in Penumbra: Black Plague or the creatures in Dead Space. It should also fit the the story of demon-like creatures taking over human bodies and be super creepy. Apart from that, I was free to do pretty much what I wanted.

This was my first character design for a commercial game, so I was a little bit shaky. The great freedom was both exciting and quite overwhelming. So many choices! I first researched and got inspiration from unusual anatomy, photos 18- and 19th century clothing (the time in which the game takes place), surrealistic paintings and various disturbing stuff.

I then continued brainstorming and did a lot of small quick sketches of character silhouettes and different faces. I really wanted to avoid stereotypes and do something unique and memorable. Every single doodle got assembled on a collage and I then showed it for Thomas. He said which parts he liked and from that I went on and created something more detailed. At this time I had a design in my head that I really felt would be perfect. I drew it down with details, colors and lots of love. The result was something of a hunchback with interesting clothing fitting the era and a really grim face. This is perfect I said to myself! Excited I showed it for Thomas. However, I quickly got knocked down to earth again when he said that it looked too funky and resembled “Grodan Boll” (which is a character from a Swedish children's book taking the form of frog). I got instructed that I should avoid the cartoony style and make something more realistic, something that you almost could find in real life. Thomas also thought that it should have a lot less clothes.

The first batch of sketches. Contains the infamous “Grodan Boll” (“Frog Ball”) on the right. (Click to enlarge.)

After this setback I started putting a lot of attention on the head of the character. I think this is the part of the human body that you can make the most disturbing because of the emotions it can show. I instantly chose to give him a crushed jaw with parts of skin hanging down and eyes with dilated pupils which pointed in different directions. Thomas approved of this and I moved my focus to the rest of the body. Important here was to get the feeling of a demon possessing a body that it was unfamiliar to. The creature should try to deform the body into a, according to its own twisted standards, more familiar form, breaking bones and bending joins while doing so. It should also have accidental injuries and be held together with bandages and ropes.

The create is starting to shape up and the design of the head has been approved. It is not yet decided what to do with the lower jaw though (an issue discussed until the very end). (Click to enlarge!)

Because of the lack of clothes we had a discussion about showing genitals or not, but soon scrapped that idea after we realized that it would be best not to tease the rating systems too much (this turned out to be a non-issue as other part of the game show /Thomas).

Clothes have been determined to be nothing but a few bandages. Also started studying how the head might look viewed from the side, which turned out to be not a simple task. (Click to enlarge.)

One thing that was hard to decide was the final look of the left hand. It had to be deformed in some way, but yet be usable and able to be used as a weapon. I did at least 10 different arm designs before coming up with something that we could use. For example I did an arm in the shape of snowballs with spider fingers and one arm twisted in a spiral, with its bones pointing out. The final hand-design was more of a claw with bony fingers that we thought would be perfect for both scaring the player and give a good scratch on the back.

Before settling on a final design, many different version were tried. The left arm was the most troublesome part and changed a lot. (Click to enlarge.)

When I did the detailed final concept I started by drawing it up traditionally with a pencil. This may not be the most effective way to work (because it makes it harder to do big changes and also caused unwanted coffee stains), but I feel more in control this way and find it easier to do the smaller details. After that I scanned it and quickly colored it in Photoshop using multiply layers. I first tried a bluish skin tone, but it made it feel too much like an alien, so I changed it to a more desaturated one, warmer colors with elements of purple, blue and yellow to create a pale corpse-like look. At this point it didn’t feel too professional and had to go over the concept with Photoshop to add the final touches, such as highlights, noise removal and sharpening. The Photoshop-file ended up having forty plus layers, most of them containing small and unnecessary changes. Nothing I recommend, because of the insane file size, but this time it did the trick and I managed to convince Thomas the concept was completed.

The art was now done and could now be used by the modeler to create the actual 3d asset.

This was the final sketch of the enemy. After this was done I started painting it digitally. (Click to enlarge.)

Final concept for the enemy. Note how the lower jaw has been removed, something that was made after the entire character was fully colored.

Continue to the second part...