Its been awhile since I posted a blog entry here. Mainly that is due to problems of a personal nature that I have had to deal with. A person very near and dear to me has been diagnosed with a very serious condition and recently required surgery. While her survival is still unsure, she had convinced me that I must press on with this despite the problems my personal life is throwing at me.
I have been looking more into different level design techniques over the past month as well as going into the GECK and experimenting with the techniques. I have also took to looking at a few other mods out there found on sites such as the New Vegas Nexus: http://www.newvegasnexus.com/ for inspiration.
I plan on using this comming week as a chance to further expand the project.
My short term goal for the review of the Project coming up in the middle of January is to have a revised schedual ready as well as a piece of the level (if not all of it) to show. I have had to surpass a few levels in the current plan such as greyboxing due to the hitches I have come across. I look forward to working more on the project in the future.
Friday, 30 December 2011
Thursday, 17 November 2011
http://books.google.co.uk/books?id=Gtv62NnHrOcC&printsec=frontcover&dq=Casual+Game+Design:Designing+Play+For+The+Gamer+In+All+Of+Us&hl=en&ei=OuDETufsF4ik8gPpr-GCCw&sa=X&oi=book_result&ct=result&resnum=1&sqi=2&ved=0CEEQ6AEwAA#v=onepage&q&f=false
Page 41 talks about level design, I hadn't seen this before but thought it best to save the link for use later.
Page 41 talks about level design, I hadn't seen this before but thought it best to save the link for use later.
Wednesday, 16 November 2011
RPG level research
The concept drawing of my design is taking a little longer than anticipated, it should not be a problem since I still have till Monday next week to finish it. The problem I am finding is designing a 3D level on a 2D piece of paper. Top down view is all well and good however it is proving difficult to draw more 'organic' shapes for the level which represent the cave pieces.
I will continue on with it for now and see where it is on Monday.
On with the main body of this post however. This blog post talks about some practical research that I have undertaken over the past week on and off.
The level I am designing for Fallout: New Vegas is what is commonly referred to in RPG terms as a 'dungeon'. Dungeons are contained levels in an interior location that has two very common elements: Monsters (or enemies) and Loot (or prizes). Unlike FPS games and more liniar games, the levels/dungeons in RPG games are a more free roaming experience allowing the player to take whatever path they may choose, as long as they navigate said dungeon to get to the end and get the loot.
While navigating the dungeon the player may come accross a variety of obstacles that they must pass. Whether it be a puzzle, a monster/enemy or a trap. While designing my level it is important to note that I must allow for one of these possibilities to properly call it a 'dungeon'.
Over the week i have player Mass Effect 2, Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, Dungeon Siege II, Borderlands, Dragon Age and Star Wars: Knights of the Old Republic.
All these games share one common trait: They are RPG games although they may reside within different subcategories of the RPG genre. All these games have a dungeon of some kind located within them. However the approach to how dungeons are designed can be very different. One thing I definately noticed, the games distributed by Bethesda Softworks: Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, all have a very specific feature to a majority if not all of their dungeons.
The dungeons in said games have a design niché that the others do not. At the end of the dungeon there is an exit which brings the player out of the dungeon more or less instantly, or reveals a shortcut which brings the player back to the start of the dungeon quickly. I feel the reason for this is as followed.
In a game when you complete a level, it ends. That is a very simple observation, however in these games the game continues even once the quest is over, they stay within the game world and go on to their next quest. Because of the lack of an 'end' to the level. A substitute is given, a 'placebo' ending which creates the feeling that the level is at and end and provides the player with a means of getting out of the dungeon to the 'overworld' quickly without having to retrace their steps through a very lengthy dungeon.
As such this is one design feature I will attempt to include in the level if it is needed.
I will continue on with it for now and see where it is on Monday.
On with the main body of this post however. This blog post talks about some practical research that I have undertaken over the past week on and off.
The level I am designing for Fallout: New Vegas is what is commonly referred to in RPG terms as a 'dungeon'. Dungeons are contained levels in an interior location that has two very common elements: Monsters (or enemies) and Loot (or prizes). Unlike FPS games and more liniar games, the levels/dungeons in RPG games are a more free roaming experience allowing the player to take whatever path they may choose, as long as they navigate said dungeon to get to the end and get the loot.
While navigating the dungeon the player may come accross a variety of obstacles that they must pass. Whether it be a puzzle, a monster/enemy or a trap. While designing my level it is important to note that I must allow for one of these possibilities to properly call it a 'dungeon'.
Over the week i have player Mass Effect 2, Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, Dungeon Siege II, Borderlands, Dragon Age and Star Wars: Knights of the Old Republic.
All these games share one common trait: They are RPG games although they may reside within different subcategories of the RPG genre. All these games have a dungeon of some kind located within them. However the approach to how dungeons are designed can be very different. One thing I definately noticed, the games distributed by Bethesda Softworks: Fallout 3, Fallout New Vegas, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim, all have a very specific feature to a majority if not all of their dungeons.
The dungeons in said games have a design niché that the others do not. At the end of the dungeon there is an exit which brings the player out of the dungeon more or less instantly, or reveals a shortcut which brings the player back to the start of the dungeon quickly. I feel the reason for this is as followed.
In a game when you complete a level, it ends. That is a very simple observation, however in these games the game continues even once the quest is over, they stay within the game world and go on to their next quest. Because of the lack of an 'end' to the level. A substitute is given, a 'placebo' ending which creates the feeling that the level is at and end and provides the player with a means of getting out of the dungeon to the 'overworld' quickly without having to retrace their steps through a very lengthy dungeon.
As such this is one design feature I will attempt to include in the level if it is needed.
Monday, 7 November 2011
Research: G.E.C.K
http://geck.bethsoft.com/index.php/Bethsoft_Tutorial_Navmesh
This past weekend I have been looking through the G.E.C.K to get to grips with it while comming up with concept for the level.
During my investigation of the G.E.C.K I discovered the whole process of 'Navmesh"-ing a level. The point of Navmesh is to place plane on the worldspace that you create, this is represented by a semi-transparent red floor. This tells the NPCs in the environment that this is the place in the game that you can walk. Going by the description on the GECK wiki it seems that it is only necessary if you intend to include NPC's in a level.
However my project is that of level design, more specifically the design of the worldspace, not NPC and quest design. The question I am asking myself is as followed:
"Should I Navmesh my level or not?"
If I were to Navmesh said level it would mean that should I wanted to expand my project to include a quest with NPCs and enemies I would be all set from the get go to start scripting and placing down AI characters.
However, Navmeshing the level would take time, time that could be considered wasted if the project is not then expanded upon.
I personally believe it is worth the extra time to Navmesh the level, it is worth attempting to get it in the level. Furthermore it would mean it is all prepared for NPCs and AI characters to be placed in the environment should they need to. If I am pushed for time or resources I can easily miss out the process if I need to.
This past weekend I have been looking through the G.E.C.K to get to grips with it while comming up with concept for the level.
During my investigation of the G.E.C.K I discovered the whole process of 'Navmesh"-ing a level. The point of Navmesh is to place plane on the worldspace that you create, this is represented by a semi-transparent red floor. This tells the NPCs in the environment that this is the place in the game that you can walk. Going by the description on the GECK wiki it seems that it is only necessary if you intend to include NPC's in a level.
However my project is that of level design, more specifically the design of the worldspace, not NPC and quest design. The question I am asking myself is as followed:
"Should I Navmesh my level or not?"
If I were to Navmesh said level it would mean that should I wanted to expand my project to include a quest with NPCs and enemies I would be all set from the get go to start scripting and placing down AI characters.
However, Navmeshing the level would take time, time that could be considered wasted if the project is not then expanded upon.
I personally believe it is worth the extra time to Navmesh the level, it is worth attempting to get it in the level. Furthermore it would mean it is all prepared for NPCs and AI characters to be placed in the environment should they need to. If I am pushed for time or resources I can easily miss out the process if I need to.
Monday, 31 October 2011
References 10 and 11
my final references are two very short reference pieces. The first is "Unlocking the Gameworld: The Rewards of Space and Time in Videogames"
http://gamestudies.org/1101/articles/gazzard_alison
by Alison Gazzard
The article mainly focuses on how the player is 'rewarded' through the game either by their time on the game increasing (with reference to arcade gaming) or space, or the world being unlocked for them to explore.
According to the article the game rewards the player by allowing them access to a new location. This has a rather simple effect of producing short term feelings of acomplishment for the player, this makes them invest more time in the game and continue exploring the environment. This is called giving the player an 'illusion reward' there is no goal or reward set..however the player believes they have acomplished something.
The article calls this the "Cycle of Reward + Exploration".
This is useful to me because it offers an example of how I can design my level to further entice players to keep on playing by offering new locations and areas in the map that are unlocked as you literally find a key or complete an objective.
--
This is linked loosely with reference article 11: "Balancing Risk and Reward to develop an optimal hot-handed game."
http://gamestudies.org/1101/articles/williams_nesbitt_eidels_elliott
by Paul Williams, Keith V. Nesbitt, Ami Eidels and David Elliott.
The article starts by discussing the Risk VS Reward mechanic that most video games use. Players constantly think about the risks attributed to performing a gruling action and decide if the risk is worth taking for the supposed reward. Sometimes this reward is not overtly displayed to the player and sometimes this can lead them to be disappointed as the reward is not in proportion to the risk involved. The reward should match the risk. Why is this linked to the previous article? Well the previous article talks about enticing the player to explore by unlocking and discovering new locations. The non essential parts of the map that the player can explore could lead to possible rewards, such as a new weapon which is guarded by a powerful beast that must be overcome. The risk vs reward here is backed by the players being influenced to explore.
Furthermore the article also offers a chance for alternate solutions. "Give the player the chance to play it safe for a low reward or take a risk for a big reward. Again this is a good way to make the game interesting and exciting. In RPG games characters construct characters with both strengths and weaknesses meaning that alternative paths, while not necessary, are encouraged due to how different types of players approach different problems.
Say you are a character with a high lockpicking skill. You may be able to pick the lock on the door in order to get into the reactor chamber beyond. However if you do not have the lockpick skill level needed you may have to go into the irradiated water and swim around into the chamber while encountering some adversaries along the way. Both have different elements of risk and different kinds of rewards.
The player who picked the door gets some XP and gets into the room quicker without the risk of being hurt..only breaking bobby pins. However, if the player is dependant on those bobby pins due to their limited number they may wish to forgo this incase a more important door comes up later.
The player who took the long way around is rewarded with more XP and as such may be able to level up sooner. However there is an increased risk of dying while taking the path or dying in the long run from radiation sickness. I believe it is important for me to balance the risk vs reward element in games while enticing players to explore through the environment.
http://gamestudies.org/1101/articles/gazzard_alison
by Alison Gazzard
The article mainly focuses on how the player is 'rewarded' through the game either by their time on the game increasing (with reference to arcade gaming) or space, or the world being unlocked for them to explore.
According to the article the game rewards the player by allowing them access to a new location. This has a rather simple effect of producing short term feelings of acomplishment for the player, this makes them invest more time in the game and continue exploring the environment. This is called giving the player an 'illusion reward' there is no goal or reward set..however the player believes they have acomplished something.
The article calls this the "Cycle of Reward + Exploration".
This is useful to me because it offers an example of how I can design my level to further entice players to keep on playing by offering new locations and areas in the map that are unlocked as you literally find a key or complete an objective.
--
This is linked loosely with reference article 11: "Balancing Risk and Reward to develop an optimal hot-handed game."
http://gamestudies.org/1101/articles/williams_nesbitt_eidels_elliott
by Paul Williams, Keith V. Nesbitt, Ami Eidels and David Elliott.
The article starts by discussing the Risk VS Reward mechanic that most video games use. Players constantly think about the risks attributed to performing a gruling action and decide if the risk is worth taking for the supposed reward. Sometimes this reward is not overtly displayed to the player and sometimes this can lead them to be disappointed as the reward is not in proportion to the risk involved. The reward should match the risk. Why is this linked to the previous article? Well the previous article talks about enticing the player to explore by unlocking and discovering new locations. The non essential parts of the map that the player can explore could lead to possible rewards, such as a new weapon which is guarded by a powerful beast that must be overcome. The risk vs reward here is backed by the players being influenced to explore.
Furthermore the article also offers a chance for alternate solutions. "Give the player the chance to play it safe for a low reward or take a risk for a big reward. Again this is a good way to make the game interesting and exciting. In RPG games characters construct characters with both strengths and weaknesses meaning that alternative paths, while not necessary, are encouraged due to how different types of players approach different problems.
Say you are a character with a high lockpicking skill. You may be able to pick the lock on the door in order to get into the reactor chamber beyond. However if you do not have the lockpick skill level needed you may have to go into the irradiated water and swim around into the chamber while encountering some adversaries along the way. Both have different elements of risk and different kinds of rewards.
The player who picked the door gets some XP and gets into the room quicker without the risk of being hurt..only breaking bobby pins. However, if the player is dependant on those bobby pins due to their limited number they may wish to forgo this incase a more important door comes up later.
The player who took the long way around is rewarded with more XP and as such may be able to level up sooner. However there is an increased risk of dying while taking the path or dying in the long run from radiation sickness. I believe it is important for me to balance the risk vs reward element in games while enticing players to explore through the environment.
The Garden of Eden Creation Kit (G.E.C.K)
http://geck.bethsoft.com/index.php/Main_Page
The website above is a wiki that is monitored internally by the creators of Fallout 3 and Fallout New Vegas, Bethesda Softworks. I understand that a wiki is a very unreliable form of reference for most academic subjects. However, the wiki is one of the best places to look at resources related to the GECK. Given that the GECK is the program I am using to assemble the level. I believe that it is worth referencing.
Looking at the front page there are sevearl tutorials of varying difficulty which can be used to teach me how to use the GECK effectively and efficiently. I have searched online for books that go into greater depth. However the GECK is a relatively new and very specific tool which does not have as wide applications as a program such as the Unreal Editor. As such there is very little reading material around beyond the support that Bethesda have given to the GECK as well as the community.
The Bethesda forums will also be a place where I can ask questions if i ever experience any issues.
The website above is a wiki that is monitored internally by the creators of Fallout 3 and Fallout New Vegas, Bethesda Softworks. I understand that a wiki is a very unreliable form of reference for most academic subjects. However, the wiki is one of the best places to look at resources related to the GECK. Given that the GECK is the program I am using to assemble the level. I believe that it is worth referencing.
Looking at the front page there are sevearl tutorials of varying difficulty which can be used to teach me how to use the GECK effectively and efficiently. I have searched online for books that go into greater depth. However the GECK is a relatively new and very specific tool which does not have as wide applications as a program such as the Unreal Editor. As such there is very little reading material around beyond the support that Bethesda have given to the GECK as well as the community.
The Bethesda forums will also be a place where I can ask questions if i ever experience any issues.
Sunday, 30 October 2011
lack of updates recently
I would like to go on record and state why there have been no updates from me recently on this blog. I had planned to update my blog on Thursday 27th October. However my computer had a major systems crash that day that resulted in me lossing the entire day of work trying to get it to work.
The Friday had me wipe the drive and start clean from scratch..so I had to get my PC back up to what it was before with the programs etc. Of course Saturday and Sunday I was working most of the day at my day job and as such I was unable to make a new post until Sunday night...3 days later than I planned. The unexpected problem has thrown a spanner in the machinary..however I hope to solve the problem and come out on top.
The Friday had me wipe the drive and start clean from scratch..so I had to get my PC back up to what it was before with the programs etc. Of course Saturday and Sunday I was working most of the day at my day job and as such I was unable to make a new post until Sunday night...3 days later than I planned. The unexpected problem has thrown a spanner in the machinary..however I hope to solve the problem and come out on top.
Dynamic Lighting for Tension in Games
http://gamestudies.org/07010701/articles/elnasr_niedenthal_knez_almeida_zupko
This article, was something that I found on GameStudies.org and a article that was reccomended to me by a fellow student also studying level design.
The article talks about "Game Aesthetics" and how studies have revealed that the term 'Game Aesthetics' is applied to two 'significant clusters of meaning':
1) A Sensory experience that the player goes through. (visual, auditory etc)
2) Expressed as pleasure or emotion.
The article also links it to 'flow' that is outlined in an earlier article I read.
The article goes on to talk about how illumination within the game world impacts the emotions and tension that the player feels when they play through a level. Since I am researching level design and wish to make the players feel certain ways within a level it is important that I read and understand what effects the player and how it effects the player so that I may replicate and use the techniques within my own project.
Once again the article uses Unreal Tournament as a reference point for using Dynamic Lighting. However to its credit the GECK editor in Fallout doew not have a form of Dynamic Lighting. While this may make the artcile null and void this is not true. Since the lighting principles of using lighting for tension still apply whether your using dynamic lighting or static lighting in a scene. Regardless of the type...lighting still effects the player which is the main point of the game. Thus the techniques I learn from this article shall be adapted for my use.
This article, was something that I found on GameStudies.org and a article that was reccomended to me by a fellow student also studying level design.
The article talks about "Game Aesthetics" and how studies have revealed that the term 'Game Aesthetics' is applied to two 'significant clusters of meaning':
1) A Sensory experience that the player goes through. (visual, auditory etc)
2) Expressed as pleasure or emotion.
The article also links it to 'flow' that is outlined in an earlier article I read.
The article goes on to talk about how illumination within the game world impacts the emotions and tension that the player feels when they play through a level. Since I am researching level design and wish to make the players feel certain ways within a level it is important that I read and understand what effects the player and how it effects the player so that I may replicate and use the techniques within my own project.
Once again the article uses Unreal Tournament as a reference point for using Dynamic Lighting. However to its credit the GECK editor in Fallout doew not have a form of Dynamic Lighting. While this may make the artcile null and void this is not true. Since the lighting principles of using lighting for tension still apply whether your using dynamic lighting or static lighting in a scene. Regardless of the type...lighting still effects the player which is the main point of the game. Thus the techniques I learn from this article shall be adapted for my use.
Tuesday, 18 October 2011
RPG Level Design
http://bbrathwaite.wordpress.com/2009/04/26/rpg-level-design-or-musings-on-5-and-expensive-graph-paper/
Again today I am looking at level design in RPG games and once again I have found a blog post. However this blog has more academic credibility due to it being written by Brenda Brathwaite who has written books on game design previously.
Very much like the article yesterday she goes on to talk about how level design is not an exact science and gives advice on how level design is formed. She also compares RPGs to FPS games and talks about how level design in RPGs are less about constant tension and spikes of tension..but instead about exploration and discovery...and that the aesthetic of the levels differ from the genres making the art style very different between a FPS and RPG game.
She ponders how she usually designs concepts and layouts of her levels on paper, specifically graph paper to get a feel for how the 'world' should look, feel and be layed out. She also states that you want the player to think 'intrigue and secrets' make them explore every piece of the level and reward players by not opening a door to a new area..but by making them work for that.
She elaborates that 'making them work for it' refers to various ideas. Secret doors, locked door, series of lifts that have to be raised before you can progress etc. I pay particular attention to this line: "Beware the location that just welcomes the player in and shows him or her everything it has. It's not a game location. Its a gallery. You open the door, look around, and you're done." this is not good in terms of development money and time to play.
The last paragraph of the article goes into quest elements of players picking sides. While this may be relevant if I exapand my project into a quest...it is currently usless to me in temrs of level design.
Again today I am looking at level design in RPG games and once again I have found a blog post. However this blog has more academic credibility due to it being written by Brenda Brathwaite who has written books on game design previously.
Very much like the article yesterday she goes on to talk about how level design is not an exact science and gives advice on how level design is formed. She also compares RPGs to FPS games and talks about how level design in RPGs are less about constant tension and spikes of tension..but instead about exploration and discovery...and that the aesthetic of the levels differ from the genres making the art style very different between a FPS and RPG game.
She ponders how she usually designs concepts and layouts of her levels on paper, specifically graph paper to get a feel for how the 'world' should look, feel and be layed out. She also states that you want the player to think 'intrigue and secrets' make them explore every piece of the level and reward players by not opening a door to a new area..but by making them work for that.
She elaborates that 'making them work for it' refers to various ideas. Secret doors, locked door, series of lifts that have to be raised before you can progress etc. I pay particular attention to this line: "Beware the location that just welcomes the player in and shows him or her everything it has. It's not a game location. Its a gallery. You open the door, look around, and you're done." this is not good in terms of development money and time to play.
The last paragraph of the article goes into quest elements of players picking sides. While this may be relevant if I exapand my project into a quest...it is currently usless to me in temrs of level design.
Monday, 17 October 2011
Observations on RPG Environment Design
http://criticalmissive.blogspot.com/2011/03/observations-on-rpg-environment-design.html
This is not an academic piece of literature, I have attempted to find an article about level design, specifically in the area of RPGs, however this specific area is very scarce of sources.
However this entry on a blog has him notice the differneces of level design comparing an FPS and an RPG. This would offer some contrast to the references about FPS level design to consider when making my level in the FPS-RPG genre hybrid game, Fallout: New Vegas.
He notes that he was designing a level for Dragon Age: Origins. However he was approaching it from the point of view of an FPS game...function over form. This ended up in a flat and bland level (which was a level set in a town).
He noted the different elements in each genre which should be concentrated on. Here are the notes I took:
He goes on to say how he altered the level to make it more appropriate for an RPG. Such as an example that his playtesters got lost..thus he placed the fountain on a little hill with a tall statue to offer the player a 'point of reference' so if they look around and see the statue..they know because of the direction the statue is pointing and its size, how far they are away from it and where abouts in the town they are.
This is not an academic piece of literature, I have attempted to find an article about level design, specifically in the area of RPGs, however this specific area is very scarce of sources.
However this entry on a blog has him notice the differneces of level design comparing an FPS and an RPG. This would offer some contrast to the references about FPS level design to consider when making my level in the FPS-RPG genre hybrid game, Fallout: New Vegas.
He notes that he was designing a level for Dragon Age: Origins. However he was approaching it from the point of view of an FPS game...function over form. This ended up in a flat and bland level (which was a level set in a town).
He noted the different elements in each genre which should be concentrated on. Here are the notes I took:
· FPS Elements to concentrate on
o Flow – How the player transitions between areas and movement options
o Tactical Oppotunity
o Aesthetics – How light, shadow, colour and provide player with suggestions. Light guiding the player etc.
· RPG elements to concentrate on.
o Accessibility – The player needs to navigate a large environment with many places and characters. This needs to be easy to find by following the natural level design. Not hidden away.
o Tactical Variation – This extends from the level design itself. Player can’t do much besinds run around, level design needs to pick up the slack. You need to have a variation of areas as opposed to tactically oppotunisitc areas.
o Aesthetics – Aesthetics in a shooter serve the function of allowing environment cover and a general idea of your location. In an RPG this needs to be balanced with ‘lore’. This means that RPGs tend to have more interesting and more unique environments than shooters.
He goes on to say how he altered the level to make it more appropriate for an RPG. Such as an example that his playtesters got lost..thus he placed the fountain on a little hill with a tall statue to offer the player a 'point of reference' so if they look around and see the statue..they know because of the direction the statue is pointing and its size, how far they are away from it and where abouts in the town they are.
Sunday, 16 October 2011
Design patterns to guide player movement in 3D Games
by David Milam and Magy Seif El Nasr
This is very similar to the "Design Patterns in FPS games" article however, it is very much more generalised to be less specific to FPS games. Again the article talks about how there are 'patterns' in level design and goes on to say how there are two types of goals associated in the games in the five patterns. A design goal and a 'Non-Goal'. A non goal refers to optional objectives that the player does not NEED to do..but can do. A Design Goal is a goal that purposely exists and contribues to level design.
They also outline different ways to influence player behaviour within the game. Such as using light as a means of guiding the player for example.
This is very similar to the "Design Patterns in FPS games" article however, it is very much more generalised to be less specific to FPS games. Again the article talks about how there are 'patterns' in level design and goes on to say how there are two types of goals associated in the games in the five patterns. A design goal and a 'Non-Goal'. A non goal refers to optional objectives that the player does not NEED to do..but can do. A Design Goal is a goal that purposely exists and contribues to level design.
They also outline different ways to influence player behaviour within the game. Such as using light as a means of guiding the player for example.
Improving Player Spatial Abilities for 3D Challenges
http://dl.acm.org.ueaezproxy.uea.ac.uk:2048/citation.cfm?id=1746050.1746056&coll=DL&dl=ACM&CFID=48683565&CFTOKEN=29714812
This article, written by Keith Nesbitt, Ken Sutton, Joshua Wilson and Geoff Hookham is not as useful as some of my other sources. However it outlines the importance of players being able to navigate a 3D world by using a 2D map as a reference, it especially notes RPG games specifically as having this element.
I know that the G.E.C.K and the game Fallout: New Vegas has a 2D map which the player can pull up if needed. However it offers alot of issues such as not indicating clearly to the player when they are on a level that his higher or lower than an area above or below them. Say for example you are in a system of caves and you check the minimap, you are standing at what appears to be a crossroads in the cave system according to that map. However you aren't...in the gamespace you can only see the liniar caven you are in...you don't know if that other cavern is below or above you.
So although not alot in the article is useful, it does allow me to make use of it, I will make use of it by paying consideration to the design of the level so that it does not make the minimap complex/unclear.
This article, written by Keith Nesbitt, Ken Sutton, Joshua Wilson and Geoff Hookham is not as useful as some of my other sources. However it outlines the importance of players being able to navigate a 3D world by using a 2D map as a reference, it especially notes RPG games specifically as having this element.
I know that the G.E.C.K and the game Fallout: New Vegas has a 2D map which the player can pull up if needed. However it offers alot of issues such as not indicating clearly to the player when they are on a level that his higher or lower than an area above or below them. Say for example you are in a system of caves and you check the minimap, you are standing at what appears to be a crossroads in the cave system according to that map. However you aren't...in the gamespace you can only see the liniar caven you are in...you don't know if that other cavern is below or above you.
So although not alot in the article is useful, it does allow me to make use of it, I will make use of it by paying consideration to the design of the level so that it does not make the minimap complex/unclear.
Design Patterns in FPS games
One article I read today and took extensive notes on is "Design Patterns in FPS games" by Kenneth Hullett and Jim Whitehead. This can be found at:
This was a very useful article. It talks about level design elements present in FPS games. Considering I am making a level for an FPS-RPG hybrid, this would be useful for me to reference to. The article goes heavily into what contributes to level desgin, what you have to consider as well as different techniques you can use to create different effects and experiences to effect the player in different ways, such as the placement of items, pacing, the use of tension, segmentation etc.
Thursday, 13 October 2011
Number Two!
This second reference is about Computer Game-Flow design. Written by M. J. Taylor, D. Gresty and M. Baskett.
http://delivery.acm.org.ueaezproxy.uea.ac.uk:2048/10.1145/1120000/1111300/p3a-taylor.pdf?ip=139.222.129.6&acc=ACTIVE%20SERVICE&CFID=47701614&CFTOKEN=38891450&__acm__=1318519336_c972f70088336bccab863b1fa07e91d3
The article talks about a design method known as 'Game-Flow' design. The method is simple, you use something similar to a flow diagram to plot the flow of gameplay through a level or the game in general. This is used in story driven games to see how the player will progress through a level, RPG games (as stated in my previous reference) are considered more story driven than most games. Since the level I am designing is for an RPG game I need to consider tailoring the level to certain 'classes' of characters within the game.
This would mean creating alternative routes through levels for different classes. With this in mind I believe that using a Game-Flow diagram would benefit me in displaying how different player types would progress through the level allowing me to design a more interesting and thought out level design in the long run.
Furthemore, if my project were to be expanded I would probably add a quest into the level and as such an established Game-Flow would be a useful source for me to design the quest around.
http://delivery.acm.org.ueaezproxy.uea.ac.uk:2048/10.1145/1120000/1111300/p3a-taylor.pdf?ip=139.222.129.6&acc=ACTIVE%20SERVICE&CFID=47701614&CFTOKEN=38891450&__acm__=1318519336_c972f70088336bccab863b1fa07e91d3
The article talks about a design method known as 'Game-Flow' design. The method is simple, you use something similar to a flow diagram to plot the flow of gameplay through a level or the game in general. This is used in story driven games to see how the player will progress through a level, RPG games (as stated in my previous reference) are considered more story driven than most games. Since the level I am designing is for an RPG game I need to consider tailoring the level to certain 'classes' of characters within the game.
This would mean creating alternative routes through levels for different classes. With this in mind I believe that using a Game-Flow diagram would benefit me in displaying how different player types would progress through the level allowing me to design a more interesting and thought out level design in the long run.
Furthemore, if my project were to be expanded I would probably add a quest into the level and as such an established Game-Flow would be a useful source for me to design the quest around.
First Reference of many
I have found sevearl references (all 10 to be exact) and I will be going through them over the next couple of days so that by Saturday, or Sunday at the latest, I should have all 10 references up on my blog so people can look at what I have.
The first I am looking at is: Level design optimization guidelines for game artist using the epic game: Unreal editor and unreal engine 2. Written by Christian Rubino and John Power.
This article was one of the first I came across in relation to level design. I nearly disposed of it as a source due to it focusing on the Unreal Engine. However, after reading the article I have found that while it does focus on the Unreal Engine from a technical standpoint the principles presented in the article would apply to level design in general.
The article discuss' what it refers to as 'Level optimization', which is a means of improving the 'fram rate' of a level in the game and how much of an importance it is. According to the article the player(s) make judgements of the game based on both the art of the game (the visual look) and the 'playability' of the game. Frame rate comes heavily under the playabiltiy side of things, it is a means of measuring how quickly the computer can render objects that the player can see every time the player interacts with the game (usually by moving the camera perspective).
If the FPS (Frames Per-Second) is low, the game takes a long time to compute and render the 'new' image and the 'speed' of the game is reduced as such. In games such as FPS and racing games this is not a good thing since those genres rely on quick responses from the player. RPGs on the other hand do not require as heavily on a high FPS reading since they rely more on visuals and story.
Since my project involves making a level for an FPS-RPG hybrid using existing in game assets, I believe this reference is important to me in the means of explaining that keeping the FPS consistant and high is needed so that the player would enjoy the level and find its 'playability' high.
The first I am looking at is: Level design optimization guidelines for game artist using the epic game: Unreal editor and unreal engine 2. Written by Christian Rubino and John Power.
This article was one of the first I came across in relation to level design. I nearly disposed of it as a source due to it focusing on the Unreal Engine. However, after reading the article I have found that while it does focus on the Unreal Engine from a technical standpoint the principles presented in the article would apply to level design in general.
The article discuss' what it refers to as 'Level optimization', which is a means of improving the 'fram rate' of a level in the game and how much of an importance it is. According to the article the player(s) make judgements of the game based on both the art of the game (the visual look) and the 'playability' of the game. Frame rate comes heavily under the playabiltiy side of things, it is a means of measuring how quickly the computer can render objects that the player can see every time the player interacts with the game (usually by moving the camera perspective).
If the FPS (Frames Per-Second) is low, the game takes a long time to compute and render the 'new' image and the 'speed' of the game is reduced as such. In games such as FPS and racing games this is not a good thing since those genres rely on quick responses from the player. RPGs on the other hand do not require as heavily on a high FPS reading since they rely more on visuals and story.
Since my project involves making a level for an FPS-RPG hybrid using existing in game assets, I believe this reference is important to me in the means of explaining that keeping the FPS consistant and high is needed so that the player would enjoy the level and find its 'playability' high.
Monday, 3 October 2011
Research list
After Robs lesson today I've had a little think to draw up a list of research topics that I should search in relation to my project:
- G.E.C.K Tutorials/Articles
- Level Design
- Post-Apocalyptic
- RPG Games
- FPS Games
- Texturing
Sunday, 2 October 2011
The evolution of an idea - The First Step
The idea I had for my project piece came about sevearl months ago while I was playing the game Fallout New Vegas and noticed how all the 'dungeon' segments were designed to allow a player to reach the same location (or objective) through different means...IE the player could either pick a lock to get through a door or hack the control pannel to unlock the door electronically, or take the long way around, which was more dangerous.
I have wanted to make an item using the Fallout New Vegas Development Tools, known as the 'G.E.C.K'. It was from there that the idea for my dissertation started to assemble itself. As someone who has an interest in architecture and design consistancy throughout fictional pieces, my idea grew into the following:
Re-produce the Waterfront building of University Campus Suffolk in a way so that it fits perfectly into the Fallout New Vegas video game.
Someone previously had used the Waterfront as a basis of their project and failed, however they did not consider the fact that they were producing the building for a game, they were doing a faithful recreation, when that is almost never applicable to a gamespace.
My idea was to recreate the buildings exterior, however I would reimagine it in the style of a retro 1950's 'world of tomorrow' art deco style. The interior would take inspiration from the existing building. However because the setting of the game is a post-apocalyptic enviroment I know that walls could have holes in them, celings could be caved in to work as makeshift staircases, debris could block off areas I did not want the player to go etc.
I believed my idea was a valid and interesting project.
However...
After investigating the matter, I recieved advice that it was not only a bad idea but a pointless idea. Why recreate the Waterfront building when I can do an interior and put it inside any exterior building I choose, especially since the focus is the design of levels within the context of an RPG-shooter hybrid game. After pondering it, I agreed that not replicating the waterfront building was a better idea. I will still be taking inspiration from existing building interiors for the map. However the idea of the piece will be focusing primarily on level design.
To put it simply my dissertation is the following: Creating an interior level within the Fallout New Vegas level creation tool that allows the player to reach a 'goal' multiple ways which compliments their characters 'abilities'.
I know the game well so the only research needed will be that of level design.
Should I reach this goal I can easily expand the project to increase its content should be necessary.
I have wanted to make an item using the Fallout New Vegas Development Tools, known as the 'G.E.C.K'. It was from there that the idea for my dissertation started to assemble itself. As someone who has an interest in architecture and design consistancy throughout fictional pieces, my idea grew into the following:
Re-produce the Waterfront building of University Campus Suffolk in a way so that it fits perfectly into the Fallout New Vegas video game.
Someone previously had used the Waterfront as a basis of their project and failed, however they did not consider the fact that they were producing the building for a game, they were doing a faithful recreation, when that is almost never applicable to a gamespace.
My idea was to recreate the buildings exterior, however I would reimagine it in the style of a retro 1950's 'world of tomorrow' art deco style. The interior would take inspiration from the existing building. However because the setting of the game is a post-apocalyptic enviroment I know that walls could have holes in them, celings could be caved in to work as makeshift staircases, debris could block off areas I did not want the player to go etc.
I believed my idea was a valid and interesting project.
However...
After investigating the matter, I recieved advice that it was not only a bad idea but a pointless idea. Why recreate the Waterfront building when I can do an interior and put it inside any exterior building I choose, especially since the focus is the design of levels within the context of an RPG-shooter hybrid game. After pondering it, I agreed that not replicating the waterfront building was a better idea. I will still be taking inspiration from existing building interiors for the map. However the idea of the piece will be focusing primarily on level design.
To put it simply my dissertation is the following: Creating an interior level within the Fallout New Vegas level creation tool that allows the player to reach a 'goal' multiple ways which compliments their characters 'abilities'.
I know the game well so the only research needed will be that of level design.
Should I reach this goal I can easily expand the project to increase its content should be necessary.
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