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Junction Point's Warren Spector, best known for Deus Ex, spoke last week at the Game Education Summit in Dallas and expressed his belief that 100-hour games are on the way out. Gamasutra reports Spector expressed being tired of making games about "guys in black leather carrying guns," and that expectations for titles costing between $35 - 100 million are huge. He also pondered how many people actually finished GTA, noting a desire that players see the last level if he was going to spend $100 million on a game.

Not that he thinks going casual is the answer. He fears that the casual field is now "really crowded" and that competition, despite being in a considerably cheaper development field, is just as tough. The point Spector made is that it all comes down to a company differentiating itself from the pack. On that note, we'll hopefully hear soon -- like during E3 -- how Spector's Disney-owned studio, Junction Point, plans on doing just that.

In this panel, a group of Austin-based game developers set out to discuss the unique Austin game development community, moderated by journalist (and Joystiq contributor) N. Evan Van Zelfden. In the course of the discussion, a bit of neuropsychology and hilarious anti-MMO (and pro-MMO) vitriol also came out, along with a lot of reminiscence.

According to Junction Point's Warren Spector and NCSoft's Dallas Snell, the Austin game development scene, as well as its current MMO focus, have their origins in, uh, Origin. The Ultima developer moved in Austin in 1986 from New Hampshire, and many companies spun off from ex-Origin personnel. Spector was hired at the company after time spent teaching at UT and working at Steve Jackson Games, and then a stint in Wisconsin at TSR. Snell was at Origin during the 1986 move.

John Woo will direct and produce the film-half of Ninja Gold, a multiformat project co-created with celebrated game creator Warren Spector. According to Woo's production partner Terrence Chang, the concept is based on ongoing factual accounts of the Yakuza and Russian mob stealing gold from South Africa. "The idea actually started with John Woo," Spector told Reuters, "He wanted to do something involving traditional ninjas in a modern-day setting, and the idea just resonated with me."

The two components, the game and film, will be developed somewhat independently, while retaining similar elements that will provide a narrative link. In a departure from the norm, neither will be entirely based on the other -- think: convergence, like, totally. Though Spector has been credited as an executive producer of the film, he implied that Woo will be commanding the movie with little help from the game developers. Chang added that the film will be more reality-based (so no signature-Woo bullet ballets?), borrowing lightly from the fantastic elements of the game. Chang hopes that a script can be completed soon, so that production can begin next year. No timetable has been given for the game's development.

As for Woo's other game-related project, Stranglehold, Chang suggested that a film adaptation was a strong possibility. "We would definitely bring Stranglehold to the big screen," Chang said. "We would like game titles to have all kinds of possibility. Having a movie made from them is certainly a major consideration for deciding on a title."

Three years ago, Deus Ex creator Warren Spector spoke about the sad state of narrative in the then-current crop of games and challenged the industry to makes some changes. Three years later, Spector today told a packed GDC auditorium that they had made some progress, but there was still a lot of work to be done.

Spector broke game narratives down into a few basic forms. There's:

• The rollercoaster: An exciting story that gives the illusion of a lot of exciting twists and turns, but inevitably ends up going in more or less a straight line. Spector said the influence of this type of game story is weakening, but it will never go away completely.
• The "Will Wright": Like archetypal games SimCity and The Sims, these games build stories with the player's input rather than overpowering them with a narrative decreed from above. These games are built on the idea that players can share better stories with each other than the ones told to them by developers.
• Procedurally generated stories – Games like Facade that can alter the story on the fly without following pre-defined paths. These games offer a "terrifying amount of freedom," and provide a great way to "explore the innerspace of personal relationships as much as the outerspace of the game world," as Spector put it.
  

While game stories have made progress on issues like structure and character graphics, Spector said stiff character interaction and animation remained the biggest obstacle to creating engaging stories in games. He also chastised the industry for not offering enough ways to interact with a game story without killing things. "I want the opportunity to play a game and not play the part of Vin Diesel," he said. Spector also encouraged developers to build fully explorable worlds, not simple, flimsy movie sets that are "just an excuse to shoot stuff."

Fixing these problems is going to take some major time and effort, Spector said, as well as a willingness by developers to fund something other than better graphics. It also take a fundamental change of perspective for many game writers. "Get over yourself," Spector told the audience. "Your story isn't that interesting. Trust the players a little bit ... let them off rails. ... This is as much a design issue as a technology issue at this point."