Jimmy Chattin - I make better games.

Friday, April 19, 2013

GDC-3.0-The Design of New Enemies for Halo 4

by Scott Warner ( Lead Game Designer - 343 Industries )

There was a 'fatigue' from fighting the Covenant in every Halo game so far.
Where was the '30 seconds of Fun'?

  • Find this from everything from Halo to Halo Reach.
  • Apply it to the Prometheans in Halo 4!


Foundations:

  • Every alien race is unique in Gameplay, Visual Silhouette, and Personality.
  • Enemies support experimentation (Halo is an open sandbox game).
  • There's a Leader/Minion hierarchy.
    • Some are easy to dispatch, others are real conflicts when encountered.
    • There are 'minibosses' with a squad/squad leader.
  • The Halo Encounter must exist for Prometheans.
    • Classically, it's Plan, Take by Surprise, Beat Back, Break Them, Mop-up, and Repeat.
    • Enemy characters (Leaders) raise or lower Minion moral and action.
  • The Halo approach to difficulty is Smarter-Faster-Stronger.
  • Higher difficulty only speeds-up gameplay; it doesn't change it fundamentally.
  • PROMETHEANS MUST USE EXISTING CONTENT CREATION TOOLS!

The Gold Triangle: Shoot - Hit - Throw

Promethean Inspirations:
  • Voltron
    • Forerunners are involved beyond anything else in the galaxy.
    • Adaption of form to fit events and environments.
  • T1000
    • They can take any form, but stay relatively humanoid.
  • The Thing
  • Cranium Rats
    • Units are smarter the more there are.

Early Enemy Goals:
  • There should be a combination of 'familiar' and 'alien'.
  • They cooperate with each other to defeat threats.
  • They adapt their form and the environment.

The Knight is something easily understood and relate-able.
The Crawler (Pawn) started as a biped.
The Watcher (Bishop) was wanted to be something like a Necromancer from Diablo; a game changer.
Other enemies were Rooks, Queens, and Kings, all of which are likely to be included in future releases.

Watcher Prototyping:
  • Had the abilities of a shield, resurrection, deflection, spawning, focus fire, physics impulse, a 'junk attack', etc.
  • From focus fire on, players just didn't get what the abilities did.
Knight Prototyping:
  • They used squad tactics in a combination of alien and human strategy.
  • Use cover like a human, but use a bound move like a Metroid ball.
  • Enter and exit battle through the environment.
  • Dismemberment is shown when damaged, answering 'am I damaging this thing or not?'
  • Have a deadly melee attack!


Problem: Pipeline.
  • Pipeling rewriting for Maya was a pain.
Solutions:
  • Bring in more engineering staff.
  • Reduce the scope, cutting the Rook, Queen, and King enemy types.

Problem: Who are they, the Prometheans?
  • They were not fleshed-out with gameplay features seeming to be random.
Solution:
  • Center everything around the Knight.
  • Finally say 'this is it' and drop some features.

Problem: Pawn
  • The team didn't like the biped design because it felt like the Covenant.
Solution:
  • Walk on walls as a quadruped!


Post Mortem Wrongs:
  • Early team communication
  • Long absence of high-level vision
  • Watcher encourages one-dimensional solutions
  • Prometheans are devoid of emotion
  • Forerunners are like bullet-sponges
Post Mortem Rights:
  • Early gameplay contraints and a foundation
  • Enemies players enjoy
  • Creating different enemies from either the Covenant or Flood
  • Team orientation

// Next: Kanban-How To Make Your Production Scream.


Wednesday, April 17, 2013

GDC-2.1-The Future of Storytelling: How Medium Shapes Story



 by Jesse Schell ( CEO - Schell Games )

Weaknesses of current games:
                Verbs
                                Right-now verbs of running, shooting, yelling, etc.
                                ‘Below the neck’
                No use of tragedy
                There is a lot of lost unification
                                All great stories tell the ending by foretelling it at the beginning.

 

Elemental Tetrad of aesthetic, mechanics, story, and technology.
                Either mechanics or technology changes will likely lead to better stories.
Prophecy of Chris Swain:
                Film was taken seriously when film learned to talk.
                Games are waiting to learn to ‘listen’.
                                This will allow for a conversation between the game and the player.
Games must: sense emotion, understand spoken word, and remember what a specific player has done.
Who will we talk to?  Our avatars (virtual companion!) is the answer.
Don’t think ‘platform’, think ‘venue’.
                The Hearth – OK for story games.
                Anywhere – Great for mobile games, but terrible for story games.
                Reading Nook – A good venue for story games played on things such as tablets.
                Workbench – The home of PC gaming and a good home for story games (future tech would include the Oculus).

 













We need: Above the neck verbs, irreversible tragedy, and everything coming together in connection and reference.
What happens to avatars when the player dies?
                Inheritance: Virtual companions can be sought to teach about the player that was alive.

// Visit jesseschell.com to find the slides!

// Next: The Design of New Enemies for Halo 4.

Sunday, April 14, 2013

GDC-2.0-AAA Level Design in a Day (2/2)

Art + Design + Programming = Level


Modular Level Design for Skyrim 

by Joel Burgess and Nathan Purkeypile (Bethesda Game Studio)



Bethesda games are BIG.
Scope is an integral part of the experience (delays don’t lose weeks, but months).
“…always move forward to explore our new ideas.”
Bethesda has efficiency focused studio culture.
KITS – A contextual system snapped to grids that is more than a sum of its parts.

http://level-design.org/wp-content/uploads/2012/02/creationkit_1322839910.jpg

Pros (+) and Cons (-) of Modular Level Design
                + Reusable art mitigates scope.
                                Beliefs + Circumstances + Experience = Culture
- Art fatigue happens (breaking immersion from recognizing assets in-game).
Abolish copy-paste design!
Disassociate enemy types and gameplay with setting.
Encourage asset mix-n-match when laying-out a level.
Artists need to ‘let go’ of protecting assets from being warped and edited.
+ Low artist / designer ratio.
- High complexity exists (artists need to know a lot of left- and right-brain techniques to be useful).
                Modular design requires an art and technology understanding.
                Bug fixing can be delicate.
+ Instant, game-wide art deployment.
                Zero impact on the design workflow.
                Artwork is viewable in a ‘real’ context.
                There’s cosmetic control with art (the aesthetic process is not rushed).
+ Iteration speed is quick.
                High flexibility and agility when making levels.
                1:1 correlation with final layout (fastest workflow ever?).
- The process has a dependence on art.
                An art and design relationship is imperative.
                The process must use abstract units for scale.
                Set standards for doorframe sizes.
                Set a minimum standard for width of a space.
                Figure out inclined angles that are traversable and what is too steep.

KIT Building
Concept Phase (a week or so timeline)
                Art: What is the visual theme?  What is the visual goal?
                How widely is this KIT used?
                What sub-KITs are needed? (The Cave KIT has large hall, round hall, etc.)
Proof Phase (2-3 weeks)
                512x512x512 dimension sizes were used (these can change per project, however).
                All sub-KITs are multiples of the standard sizes.
                Keep grid snaps large!
                Don’t tile on all 6 axis.
                Don’t build outside of a ‘footprint’ space when designing.
Greybox Core Phase (1-4 weeks)
                Greybox the most used sub-KIT as a priority.
                Focus on function, not aesthetics.
                Naming conventions should be used and must be consistent (while avoiding abbreviation); decide on conventions early because they are difficult to change later.
                Use ‘01’ as a suffix for all assets.
                [KIT name]-[sub-KIT]-[object name]-[suffix] // An example of naming an asset.
                Pivot placement is decided on usage and design (there are exceptions).
                Test all greyboxing.*
Build-Out Phase (4-8 weeks)
                Create one ‘visually final’ piece before building the whole KIT.
                Avoid Hero pieces (a single-use statue worked-on for 2 months).
                Helper markers (placed on the roof of a piece) give a run-down of the info of a piece.
Polish Phase!
                Avoid the temptation to add every suggested piece.

http://worldofleveldesign.com/categories/level_design_tutorials/images/010-reverse-engineering-level-design-00.jpg

Art / Design Compromises
Art: It looks better, but takes longer.
Design: It helps in gameplay and world-building, but it’s harder to work with.
Read: Modular Level and Component Design by Lee Perry.

* Don’t test in comfortable settings / ideal conditions.
                Common problem: Loopback issues.
                                Avoid ‘Patch’ pieces (no band aids!).
                                Find footprint issues.
                Common problem: Unable to stack (co-planar issues).
                                Define common ‘gaps’.
                Common problem : The ‘Hall Room’.
                                Somebody will try unsupported issues (does the system support it or no?).


// NEXT - The Future of Storytelling: How Medium Shapes Story by Jesse Schell