Update

    This is just a post to revisit the last few projects and mull over them.

  In visual design I have found that I have been lagging behind slightly. I sometimes find it difficult to get “in the mood” to draw certain things. I get the projects done, but I feel like 3D has taken up the majority of my time. I feel like my 3D needs more improvement than my 2D, which is why I’m focusing on it more. I have to keep re-educating and experimenting with aspects of 3D because I still don’t really know what I’m doing with it.

  However, the last “Mortal Engines” project I was quite happy with the 3D work. I managed to work to a better timescale. So instead of panicking that I wont get it done on time. I set out a timetable and worked to it. It definitely worked out a lot better than I expected.

   I’m nervous about the group project because I’m scared of letting my team down. I am someone who likes to listen to others’ ideas and go with the flow of things. I am very individualistic, but when it comes down to working in a group, I’m happy to go with most ideas. I don’t want to appear uninterested, but I get inspired by what other people say, so all the time I’m getting ideas….

Sound in Games

   Sound is a very important aspect of game design. When you think about game design you tend to skim over the sound area as you don’t necessarily pay much attention. Hearing is more of a passive sense, therefore making sound something where you don’t tend to notice it is there but if there’s no sound or incorrect sounding then you realise.

    Sounds are used in games to help provoke an emotional response in the audience. Whether it be, fear, anger, sadness ect. This is done by using different strategies to convey meaning. For instance, sharp, high jolted notes are used, in essence with disjointed silence, to scare and disorientate the audience. Whereas, soft, long notes are often used in sad or dramatic sounds. For example;

                         http://www.youtube.com/watch?v=VCcVy8-nHOU

Listen to the incoherent shuffling tones, which seem to have no sort of rhythm too. The human brain is conditioned to respond to rhythmic noises, so the lack of flow in the music and sound creates an eerie confusion for the brain to handle.

   Diegetic and non diegetic sound is used in the gaming world. As well as the music you must have  item response noises. To create a convincing level you must integrate the appropriate sound convincingly. For example, a dripping tap wouldn’t look right if you couldn’t here the water dropping. Our eyes and ears have to work together to get a sense of realism, without one, the other one becomes distorted.

    Theme tunes are also useful for gaining recognition.

    Some key composers working in industry are;

-Harry Gregson Williams – who created the theme tunes for Metal Gear Solid 2, 3 and 4.

- Inon Zur – who created the theme tunes for games such as fallout 3.

- Koji Kondo – Who created the theme tunes for Zelda: Orarina of Time, Super Mario Bros and Super Mario 64.

- Michiru Oshima – Legend of Zelda: Twilight Princess.

All of these inspiring composers use interesting melodies to create the desired effect. For example, the melancholy tones of the fallout 3 music differs greatly from the adventurous music for Zelda.

    As I play a lot of horror games, sound is one of the most iconic aspects of a horror game. It is  used to create tension and to scare the audience. In addition with interesting visual components, this can create a very frightful, heart-pounding experience. Some key sound aspects for me, come from games such as FEAR (As I spoke previously about) and games like amnesia. Here are some links to gameplays of some of my favourite horror games with amazing sound techniques;

- http://www.youtube.com/watch?v=ArJlSWm8bTc

- http://www.youtube.com/watch?v=5qeOtbYnPmI

- http://www.youtube.com/watch?v=nbEI4B_rmiU

    In regards to the quote “Nile Rodgers/Bernard Edwards composition 'Good Times' is the most influential recording made in the 20th Century”, I believe that this quote is purely based on the individual. I personally disagree, as I listened to the music I tried to think of what it had been in. I couldn’t think of much, to be influenced by something is a personal thing. I’m influenced by horror stories, people and life in general. This is not true to everyone, it is a matter of opinion.

Game Engine

     The gaming engine is a very important part of developing a game as it allows you to piece together aspects which you have designed and created, allowing them to be given meaning and “life” within the gaming engine.

      There are many different game engines, I have only had experience of using Unreal Editor. For me, getting used to the game engine was difficult at first because I was not used to navigating through the level as if it was a first person shooter, I kept forgetting that the controls were different to 3ds Max. Below are a list of different gaming engines and information about them;

1. Rage Engine – Rage engine has been used in games such as GTA IV and Red Dead Redemption. The original author was Rockstar Games and was initially released in 2006. The platforms include Micorsoft Windows, Playstation 3, wii and xbox 360. This engine can handle large streaming worlds, complex AI arrangements, weather effects, many gameplay styles and fast network coding.

2. CryENGINE – Far Cry and Crysis are among other games created with CryENGINE, developed by Crytek. It works with operating systems such as Windows, xbox 360, ps3, wii and android. And has features including Parametric skeletal animation, dynamic pathfinding and a tactical point system. According to Crytek, CryENGINE 3 is next-gen ready and doesn’t need additional support as it can handle it’s own sounds,physics and animations.

3. Naughty Dog Game Engine – This engine has been used in Uncharted and Uncharted 2. This engine was designed specifically for the playstation 3. It provides crisp environments and interesting physics.

4.  EGO Engine – EGO engine has been used in Colin McRae:DiRT, Operation Flashpoint: Dragon Rising and F1 2010. EGO engine is usually used for driving games as it offers a highly playable driving engine across many different terrain types and allows clean details. It has a dynamic damage system, top quality AI and it makes great use of lighting, it is a very flexible engine that can be manipulated into the developers needs.

5.  Unreal Engine – Used in Deus Ex, Killing Floor, Bioshock and Mirror’s edge. Developed by epic games, first illustrated in the 1998 first person shooter “Unreal”. Unreal favours First person shooter creations, however it has been used for other gaming abilities such as MMORPGs and RPGs. It can be used on a variety of platforms. 

6. Avalanche Engine – Seen in Just Cause and Just Cause 2. An impressive collection of seamless gameplay, such as swimming and driving. The physics and AI is highly advanced and looks stunning. The visual effects are dramatic and eye-catching which makes this engine appropriate for open-world games.

     In conclusion, engines vary immensely, some are better for effects and some may be better for environmental reasons. Before making a game you need to make sure you research the pros and cons of using each specific engine, whether it favours a certain type, how easy it is to navigate and whether you are able to learn the programme. It requires a lot of thought as to which engine you choose, as you want the best result.

Documentation

    Documentation is key for a smooth running operation, it allows you to understand when and where you should be at during the project. This blog entry is a practise for the FMP in the third year, doing this will allow me to see where my documentation is lacking and therefore can be improved before the real thing.

 Project Outline:

   This project is designed to test my technical abilities and design plans. My personal aim is to improve my skills, plan efficiently and be able to create a scene that is believable to be in a ps3 game. The objective is to complete the task to a standard that would be acceptable in a game.

   As stated previously, I will be creating my project for the ps3 platform. As I have a penchant for the horror theme, I will be dedicating this task to that particular genre. This will allow me to express my gratitude and fondness of the genre.

    The audience will be for teenagers around 15+ and will not favour a particular sex. I chose teenagers, as I am currently in that age range so I will be able to project how I’d feel about the project as if I hadn’t seen it before, allowing me to change ideas and plans on how it appeals (or doesn’t) to me. Teenagers are the targeted audience for most games, which is another reason to base my game on this audience.

    The software and technology I intend to use are, 3dsmax 2012, photoshop cs5 and udk as  these are theoftware I feel most comfortable using which will allow me to create the project at the best of my ability and time set. Instead of instigating time to learn new software.

     The project will be based on the idea of a female protagonist fighting an apocalyptic world full of mutated, dangerous enemies ranging from small creatures to large bosses. The character arc will be that in order to protect the people she finds along the way, she has to make difficult choices which define her leadership qualities as well as overall, making her a better and redefined person from what she used to be, which was a nobody. She learns to respect the life she has been given.

  

Technical Specifications:

Lead Character (Protagonist):

 -    Female, Aged 25, white, English. Strawberry blonde with blue eyes.

-          3 x (512 x 512) diffuse texture sheets. (6 x ((512 x 512)) normal and speculars)

-          2,500 triangle budget

-          Functionality: Being the protagonist means that the game will be set around the character arc of this character specifically. This means that most effort and work will be given to the protagonist. This is so that the audience will become emotionally involved with her.

Non-playable character:

-          Male, Aged 11, Caucasian, black hair with hazel eyes.

-          3 x (512 x 512) diffuse texture sheets. (6 x ((512 x 512)) normal and speculars)

-          2,000 triangle budget

-          Functionality: The first person the protagonist saves. Represents her childish needs and the ability to be an authoritive figure to him.

Vehicle:

-          LandRover, black, 4wd, factory fitted body kit, leather interior.

-          1 x (1024 x 1024) diffuse. 2 x (512 x 512) diffuse. (6 x ((512 x 512)) normal and speculars)

-          3,000 triangle budget

-          Functionality: Mobility. Represents communism by being the newest land rover version, stolen from a rich, selfish man.

Enviroment:

-          Hospital waiting room, including stacks of chairs, a desk and a small childs play/waiting area (Similar to the ENT specialist waiting room at Leicester general).

-          2 x (1024 x 1024) 1 x (512 x 512) diffuse maps. (6 x ((512 x 512)) specular and normal)

-          8,000 triangle budget

-          Functionality: Hold up area for the survivors to fight off mutations and gather important medical equipment. Comments on the reliability of the human race on quickly learning the difference between what is needed and what is wanted. Also comments again, on communism as they encounter items which are not useful but are taken anyway.

Props:

Scalpel

-          Surgens scalpel found in the overrun hospital, blooded but in good use.

-          1 x (512 x 512) diffuse (2 x ((512 x 512)) specular and normal maps)

-          250 triangle budget

-          Functionality: Weapon, protection.

Bone Saw

-          Surgical bone saw found in operation room, un used.

-          1 x (512 x 512) diffuse (2 x ((512 x 512)) specular and normal maps)

-          250 triangle budget

-          Functionality: Weapon, protection.

Desk

-          Circular desk and reception area, with two chairs and a computer monitor and processor.

-          2 x (512 x 512) diffuse (4 x ((256x256 specular and normal maps)

-          1,000 triangle budget

-          Functionality: Hiding area

Childs area

-          Small childs table and 3 plastic chairs, small amount of childs plastic toys scattered on the floor.

-          3 x (512 x 512) diffuse (6 x ((256x256 specular and normal maps)

-          1,000 triangle budget.

-          Functionality: Another hiding area, comments on childish behaviour and oppressive psychological aspects hidden within the protagonists childhood.

Well......

I know I'm not going to sleep tonight! Oh silent hill, you do know how to please the audience!

Level Design

         Level Design is where the development of a game physically begins. It takes a lot of thought and process to be able to create a successful level and environment. You have to be aware of the space and general interactivity. As well as the importance of playability and the way the player navigates through the level. Level design combines the use of visual and geometric abilities all designed to construct the architecture of the level. It requires more than just an artistic way of thinking, it demands a structural and precise insight to the mechanical expectations of architecture. This is because level design is an expensive use of time, as if things don’t work or look right then the level, and therefore the game will look bad, and this will be shown in the sales of the games. Gamers want to play something believable, not something that is falling apart at the seems.

         Another important aspect of level design is the purpose of what is going to be placed in the level and why you are having it in the level, you need to consider what the purpose of the object is and how it will help you to get your end result. Deciding the location and environment will help you back up your general theme for a game. For example, in horror games such as silent hill, don’t you always see hospitals and abandoned theme parks? Why? Because they are creepy! So if you’re creating a horror game, you aren’t going to have the environment in a sunny field full of rainbows and unicorns. No. you will conform to stereotypical places ideal for your theme.

        So, with that in mind, the level must be constructed around the general story of the game. You must realise, before creating a level, what the environment and place has to do with the story and why the character(s) are there? This will help you decide assets and how the level is constructed.

      The layout is another important aspect of level design. You don’t want the player to have a headache because the level is designed like a maze (Unless your making a maze, then it should be maze-like) forcing them to give up because they’ve “Gone past this same tree several times now”. These are important things that you must keep in mind if you want to create a successful level.

      Another important stage with creating a level is what are the objectives and obstacles? As these will help to forward the plot and storyline. If these are missed out then the game will not have a meaning. You need to give a typical character arc to the character by setting tasks and having problems, like with any film or game. Your protagonist has some sort of problem to overcome which in the end makes them or the world better. (This cannot be typical of ALL game and films, just the majority) You must also create main focal points in your level. This will help draw gamers in the world, giving them something to concentrate on. Focal points must be visually pleasing and could often be the sign of where the player needs to go or the importance of that area.

    In conclusion, all these things are relatively important to the full aspect of a game. Poor level design will result in a overall poor outcome, as level design is classed as the “interface” (how the person reacts with the operating system) and will be an important and constant feature of the game.

Film

    Today’s lecture really made me miss my old film studies lessons. Watching “Paris, Texas” refreshed my film knowledge and I felt myself getting really involved with the making of the film. Makes me really miss Wednesday film afternoon’s, I loved watching films I wouldn’t normally choose to watch.

     I find bizarre films very interesting. Like one of my favourite French new wave films “A Bout de Souffle” (Breathless) directed by Jean-Luc Goddard.

                                   http://www.imdb.com/title/tt0053472/

   I found it really interesting to learn how the French new wave broke the cinematic rules, with regards to things as breaking the 4^th wall and a non-consistent character arc. There was many ways in which this film was interesting, and I enjoyed learning about it. It’s the kind of film you wouldn’t necessarily choose to watch, but once you watched it once, you watch it over and over and over…..

                http://www.bbc.co.uk/films/2000/07/06/breathless_review.shtml

     Today just reminded me of the passion I had for films and the effort that goes into making them, I appreciate that feeling very much.