Rami Ismail (ramiismail.com)                             

Event Schedule

Biography

Rami Ismail is the Business & Development Guy at Vlambeer, a Dutch independent game studio known best for Nuclear Throne, Ridiculous Fishing, Super Crate Box, LUFTRAUSERS, GUN GODZ, Serious Sam: The Random Encounter & Radical Fishing.

Through his work at Vlambeer, Rami has come to realize that the marketing & business facets of many independent game developers could use some help. As such, he created the free presskit-creation tool presskit() and is working on side projects such as distribute() and gamedev.world.

Believing sharing knowledge openly is the cornerstone of independent development, Rami has spoken on a variety of subjects at dozens of game events around the world, ranging from the Game Developers Conference to Fantastic Arcade & from University seminars to incubator mentorship.

He is a avid opponent of game cloning after Vlambeer's Radical Fishing got cloned. He is also a proponent of searching for new, beautiful things in places no-one is looking for them and thus organized Fuck This Jam, a gamejam focused around making a game in a genre you hate. Rami also worked closely with the Indie MEGABOOTH team to enable indie studios to showcase at the larger game conventions, runs the #1reasontobe panel at GDC, and helps as an advisor on events such as Devcom, Train Jam, PocketGamer, and NASSCOM GDC.

Rami has received several awards and recognitions for his work promoting game development around the world, including the IndieCade Game Changer award for the decennial jubileum of the festival.

 
 
 

RAMI IS CURRENTLY IN THE NETHERLANDS.
YOU CAN REACH HIM AT RAMI@VLAMBEER.COM, , , OR BY CALLING +31 (0) 621206363.

The Nuke That Makes It All OK

To me, one of the most fascinating narrative things in games is the narrative justification for whatever unholy acts you have to fulfill to somehow end up on the side of good again. Where most games cater to a power fantasy, they also cater to a sense of moral justness, and to resolve the two people need a good reason for their spectacular murder sprees.

One of my favorite examples of that was very popular around 2005-2008, the peak of the FPS military single player campaign, and I have to admit I kind of miss it. It’s the third act nuke launch.

For the first two acts of the story, the game maintains a politically plausible narrative – a political faction separated itself from the forces of stability and order, but not unlike current political events. The player is sent to the Wartorn Country Du Jour, where they fight local inhabitants and their puppet masters. Players get to participate in something realistic.

While that creates a great theater for a story, games are commonly unhappy to tell a story – they’re expected to tell the story. The soldiers that breached the walls and died shortly thereafter while ensuring ultimate victory aren’t as interesting to the player’s agency as the one person that singlehandedly took down an army and the superweapon and the person that built it and also the person secretly behind all of it.

If your antagonist is a politically realistic faction, it’s unlikely you can tell that story. Reality rarely is that absolute, and few political factions are interested in triggering something of the scale that places the protagonist in the camp of Absolute Objective Good.

But we want to tell the story, the story of the hero – and as such, we need an absolute evil to the player’s rampant but absolute good. So at the start of the third act, we justify the player’s violence up to that point with a satisfying “They’re launching a nuke?!”

And it’s kind of reassuring, that nuke. We haven’t shot all these people for nothing. And everybody we shoot after that is fine too. You can have everything in your game script: realism and heroism – all you need is to launch the tired old nuke.