Glen Schofield, Creator of "Dead Space," Shares Ideas on Innovation and Proposes Industry Revival—Keynote Report from gamescom Asia
Note: the original Japanese article can be found at:
https://www.4gamer.net/games/585/G058584/20251017049/
Deputy Editor-in-Chief: Noguchi | 2025/10/17 10:42 (UTC)
On October 16, 2025, at gamescom Asia × Thailand Game Show 2025 held in Bangkok, Thailand, Glen Schofield—known for developing titles such as Dead Space and the Call of Duty series—delivered a keynote speech. Speaking on the power of ideas as fuel for the gaming industry, he generously shared his own proven techniques for generating creative concepts while offering concrete suggestions for revitalizing an industry currently facing challenges.
Initially announced as a talk on “10 techniques,” Schofield began with humor, stating: “It was listed as 10, but actually it’s just nine. I’m blaming the AI instead of the event organizers.” Over the course of about an hour, he wove together real-world development stories—from the creation of advanced jump mechanics in Call of Duty: Advanced Warfare to the inspiration behind religious elements in Dead Space—illustrating how creative ideas emerge and take shape.
The Power of Ideas That Sustain the Gaming Industry
Schofield began by honestly acknowledging to developers, students, and fans gathered at the venue that the gaming industry is currently going through a difficult period. Yet he also emphasized: “You’re here because you care deeply about the gaming industry, games themselves, and your own investment in them.”
“Ideas are the fuel of the gaming industry,” Schofield stressed—the overwhelming power of ideas. Today’s gaming industry has surpassed both film and music industries combined in scale. Once reliant on licensing movies to make games, now studios license video game properties for films—this reversal was made possible by nothing less than pure creativity.
As a game director, Schofield has always needed ideas. Game development requires countless concepts—from the grandest to the smallest—and he developed his own unique list over years of experience. This talk marked the first time he publicly shared this list.
However, he introduced two key principles: First, “Ideas can come from anywhere.” Second, “Only the best idea should be used in games.” This means that if someone else has a better idea, setting aside ego to adopt it is ultimately best for both fans and your team.
Nine Methods of Idea Generation
1. Personal Ideation Time
For Schofield, engaging in art activities like painting and drawing is essential to shift his mind into “idea mode.” While everyone has their own way of thinking, he uses art as a tool to activate creative thought.
During the development of Call of Duty: Advanced Warfare, he asked himself, “What do I want to achieve with the next Call of Duty?” The immediate answer was, “I want to jump higher.” Though simple in concept, convincing the team and implementing it proved difficult. Ultimately, this high-jump mechanic became a defining feature of Advanced Warfare—and later appeared in other titles.
2. Personal Experience
Schofield described personal experiences—stories heard, travel memories, life encounters—as invaluable sources of inspiration.
In Call of Duty: Modern Warfare 3, he paid tribute to George Lucas, a filmmaker who profoundly influenced his life. A scene in the game features a submarine rising from beneath the ocean surface—a seemingly minor moment that held deep significance for him as an homage to Star Wars. These small ideas enrich scenes and give them deeper meaning.
3. Research
“Research is extremely important,” Schofield emphasized. For Call of Duty: World at War, he conducted research over three years. Today’s access to vast online information allows for deep dives into vehicles like tanks, trucks, and jeeps—studying their strengths, weaknesses, and gameplay potential.
One standout example was the addition of religious elements in Dead Space. After 8–10 months of development, Schofield felt something was missing. He concluded: “Religion is needed.” But how to create a religion based on faith? It took him six to eight weeks to answer this question.
One day, while reading an article about the asteroid that wiped out the dinosaurs—ending their era and triggering ice ages, paving the way for human evolution—he asked himself: “What if it weren’t just rock, but a marker? A monolith?”
This idea led to a narrative where scientists discover such markers from underground. Some believe they created humanity; others doubt them—a split that gives rise to faith. This concept fundamentally shaped Dead Space’s gameplay and world-building. Schofield called this “Art Math”—a complex thought process resulting in profound ideas.
4. Brainstorming
Schofield offered an important insight about brainstorming: facilitators should prepare thoroughly and give participants time to prepare. Without prior preparation, the first 15 minutes of meetings are wasted.
Sharing early concept art from The Callisto Protocol development at Striking Distance Studios, he noted that while he typically leads discussions himself, he sometimes hands over control to team members—because brainstorming is the essential teamwork process for gathering diverse ideas.
5. Visiting Locations
Schofield stressed the importance of visiting real locations to capture a “feeling” that research alone cannot provide. While you can’t visit the moon for a lunar-themed game, similar environments exist.
While developing Call of Duty: World at War, Schofield had completed all designs but still felt he needed firsthand experience. He hired a curator from the U.S. National WWII Museum and spent eight to nine days touring France, Belgium, and Germany.
By viewing war remnants and artifacts in person and photographing textures, he discovered new elements that could enrich game content. “If you’re designing a forest level, go into an actual forest—study it, and you’ll find countless ideas for your game,” he said.
6. Collaboration with Experts
Schofield doesn’t hesitate to call experts for advice, ideas, or verification—and they usually respond positively.
While developing the scene where Golden Gate Bridge is blown up in Call of Duty: Advanced Warfare, Schofield was unsure how to execute it. His producer found a retired bridge inspector, and Schofield called him directly.
The expert’s answer was clear: “Don’t destroy the pillars—destroy the cables.” This advice led to one of Schofield’s favorite scenes, where the game dramatically shows the cable snapping and the massive bridge collapsing in real time.
7. Ideas from Headlines
Schofield emphasized the importance of staying alert to news, politics, global affairs, and business. He personally watches BBC—because it provides information not always covered in American media.
While developing the Sierra Leone level for Call of Duty: Modern Warfare 3, he read an article about a sandstorm that delayed Allied forces by two days. “A sandstorm stopping armies for two whole days? That has to go into the game,” he thought—and immediately incorporated it.
Players first experience the level under normal conditions and later return to it during a sandstorm—same map, completely different gameplay. From a developer’s standpoint, this also allowed reuse of existing content.
8. Music and Sound
Schofield recognized the importance of sound 20 years ago. He stressed always listening—dialogue, music, engine sounds, wind.
While searching for a song for a new Dead Space trailer, he returned home to hear his three-year-old daughter singing “Twinkle, Twinkle, Little Star.” Instantly recognizing its potential, he re-arranged it into a creepy tone and used it in the horror trailer.
Another example: sound became mechanics themselves. Schofield collaborated closely with audio director Don Becka throughout Dead Space’s development.
One day, Becka reported hearing a terrible noise when opening train windows while riding on a train. Schofield immediately said, “Record it.” The next day, Becka stuck his hand out the window and recorded it.
This sound was later used in-game as the audio cue for escaping vacuum conditions. Testers found it deeply unsettling—making it an effective gameplay mechanic. Schofield has since reused this technique several times in other games across small areas.
9. Using AI
Schofield introduced AI as a new method. He’s used ChatGPT for over two years and other tools like Midjourney extensively.
Crucially, he stressed: “AI isn’t here to replace us—it’s a tool to help us work faster, better, and more efficiently.” He uses ChatGPT not just for answers but as a brainstorming partner—asking questions like, “What’s wrong with this half of the story?” or posing wild hypotheticals. He even names these conversations so they can be referenced later.
For Midjourney, he uses it to quickly visualize scene concepts. For example, if unsure whether a scene should be set in snow or night, he generates multiple variations for comparison—producing rough visual references rather than final concept art. This allows the art director to start moving forward with team collaboration.
When asked, “Aren’t you taking over concept artists’ jobs?” Schofield replied clearly: “Do you really think a game director has time to do both directing and concept art? No.” He warned against the idea that pressing a button could make a great game using AI alone. Instead, he urges everyone—directors, artists, writers, engineers, marketers, executives—to try it out, experiment, grow.
Having witnessed how much AI has advanced in just two years, Schofield constantly stays updated on new developments.
By asking AI provocative questions—like “What if the whole scene were engulfed in flames?”—unexpected ideas emerge. And sometimes, he finds: “This fire idea is actually great.”
Yet he added one final point: “Ultimately, creative sparks still come from us.” AI is a tool—a means to achieve faster and bigger dreams.
Three Proposals for Reviving the Gaming Industry
After sharing his nine idea-generation methods, Schofield shifted tone and spoke frankly about the current state of the industry. “This is my personal opinion,” he began.
“The gaming industry is broken—crushed and wounded. Developers have endured hardship over the past two years. We need to restore our industry. We must break free from negativity.”
He then offered three concrete proposals for revitalization:
1. Immediate Start of AI Training
Schofield urges executives, owners, and all decision-makers: “Start AI training for your employees immediately.” Crucially, he stresses cooperation across the entire industry—not competing but uniting.
“Whether it’s EA or Activision—it doesn’t matter. At least in training, we must cooperate and develop talent,” he insisted. AI is the next major technological leap—like PCs, the internet, and mobile phones—and those who learn and experiment now will become indispensable to our future.
2. Restarting Investment with Proper Talent Allocation
“Come on, investors, executives—let’s stop this madness,” Schofield declared plainly. Attempting AAA games with $2 million or $8 million budgets is unrealistic.
Funds must return to the industry—but equally important is assigning projects to the right people. He recalled instances where highly skilled individuals were given director roles before they were ready.
“Place creative people at the top and build strong support systems around them”—this, he believes, is ideal. Currently, he’s structured his studio so 98% of his time focuses on creativity by ensuring solid support structures are in place.
High-quality games require proper talent and appropriate investment. He firmly believes that doing so will inevitably lead to sustainable industry profits.
3. Reviving E3
“The gaming world needs E3 back,” Schofield’s third proposal resonated deeply with many industry professionals.
“E3 was the greatest event ever. Every E3 I attended made my game better.” While ROI can’t be measured by formulas, each time he participated, his games improved noticeably.
Through conversations with colleagues and friends, new technologies and mechanics were shared. When companies began holding their own events outside of E3, Schofield sensed fragmentation—and indeed, E3 eventually ended. “I boycotted those individual events because I saw the industry splitting apart instead of collaborating.”
If these three proposals—especially the first two—are implemented, talented developers currently unemployed could return to work. This would prevent brain drain and restore health to the industry. And a vibrant holiday season might come back again—a future Schofield envisions.
In closing his talk, Schofield offered historical perspective: every major technological leap has created entirely new industries, opportunities, and specializations.
“Some jobs may change or disappear due to AI—but millions of new ones will emerge in the coming years,” he said. Those who engage with AI now can ride this wave.
Animators remain animators; artists stay artists—your core identity doesn’t change. But learning AI tools allows you to work better, faster, and more efficiently—making yourself indispensable.
“Now is the time. If you start learning AI today, in one or two years, you’ll be an expert—before others even reach that point,” he emphasized. That’s why he advocates for industry-wide training.
Finally, Schofield reiterated: ideas are the lifeblood of our industry—and they will continue to come from humans, even in the age of AI. “The next few years and beyond will be truly incredible. The next generation—your generation—will have powerful tools at your disposal.”
Following the keynote, numerous questions were raised by attendees.
Asked about the relationship between AI and creativity, Schofield said plainly: “Relying solely on AI causes problems.” Not every idea should come from AI. He stressed that AI is not a crutch—it’s a tool.
On checking whether an idea fits the game’s tone, his simple answer was: “Ask people around you.” He himself constantly seeks feedback via texts and emails—and even when no team exists, finding someone who gives proper input is key.
Regarding managing large-scale ideas, he advised: “When dealing with overly broad themes like mental health, thoroughly validate early on whether you truly want to build it and if fans actually need it.”
Before implementing high-risk ideas, always conduct “white-box testing” (playing with incomplete elements) or prototyping. For The Callisto Protocol, over 500 prototypes were created—testing VFX, fire, animation, combat—all at the prototype stage.
Asked whether he prefers remakes or new games, he answered clearly: “I’ve never done a remake. I’d rather create something completely new than work on an idea that’s already out there.” While remakes are important for the industry, he personally chooses to take risks and build fresh experiences.
When asked about his favorite game, he immediately replied: “Dead Space.” It took him 18 months of special negotiations with EA just to get approval for a high-quality demo. That period—the time when he could create his beloved hard sci-fi—was the most enjoyable development phase.
On how to present bold ideas, Schofield shared an interesting story: When first presenting Call of Duty: Advanced Warfare’s concepts to 20 Activision executives, they rejected it outright: “A hundred years in the future? Walking tanks? Jumping thirty feet? No way.”
Reflecting on this, he said: “I realized I’d gone too far. I should’ve started subtly and added elements gradually.” In the final game, however, he placed the walking tank—the one everyone wanted cut—right at the beginning.
On how agreement is reached among teams, he laughed: “We don’t fight or hit each other.” After years working together, team members understand each other’s language. If someone says something isn’t good, he accepts it. “I’ve rejected millions of ideas—and only a tiny fraction were approved. Rejection doesn’t bother me; if an idea is bad, just discard it.”
The Future of Our Industry: Fusion of Creativity and Technology
Glen Schofield’s talk went far beyond technical advice—it offered deep insights into the future of gaming and actionable proposals.
His words carry weight, forged by years of experience behind hits like Dead Space and Call of Duty. The nine practical techniques he shared—illustrated with real development stories—are immediately applicable.
Most striking was his attitude toward AI: rather than fear it, he urges learning and using it. Having used AI tools for over two years, he’s convinced that AI accelerates human creativity—not replaces it.
At the same time, he spoke honestly about industry challenges—and offered concrete solutions: launching AI training, proper investment with right talent allocation, and reviving E3. These proposals deserve serious consideration.
“Ideas are the lifeblood of our industry—and they continue to come from humans,” Schofield said. His words remind us that even in a rapidly evolving technological era, human creativity remains at the heart of game development.
Closing his talk with a powerful message for everyone present: “Enjoy the show, meet new people, learn from each other—and most importantly, have fun.”
Whether the gaming industry can overcome its current hardships and return to healthy growth may depend on just this: the proper fusion of creativity and technology, along with industry-wide cooperation.