Elements of game technology, part three: interaction design

The difference between a movie and a game is the element of interaction. You as a viewer/player cannot intervene in a movies events in a way that you may be able to during a game. This idea of interaction brings us that bit closer to the immersion of the many games played today. Just the ability to make decisions and choices which affect the characters, mechanics and environment of a game can change the outcome of an in-game event and therefore story.

 The development of video games in the past few decades have been extraordinary! Starting with simple graphics moving on a screen and text-based adventures to now having interactive three dimensional models which react to realistic, world like physics; this is obvious to see. But how has the way we play these games changed over this time?

 The interesting thing about video games is the idea that you are sucked into a game by your interaction with it, regardless of whether you move your body or not, you feel in control as that character or entity. The addition of new technologies allows us to be in control in different ways. Developers have always thought of new ways for a player to play their favourite games and also sometimes as a marketing strategy in order to make sales. It’s all about adapting to the market and be one step ahead of your opponents.

 One example may simply be the joy stick, used at its peak during the flight sim era of the 90’s it changed the way the player could fly, feeling like they were in fact the pilot. Another may be the “GunCon” controller which was bundled with a copy of time crisis. This was essentially a replica of a pistol, which allowed the player to shoot and take cover all with this controller. Although this was a new way to submerse the player within the game, it had a compromise. As the user could not move while using the gun; it meant that the mechanics of the game changed. Therefore, the character would move stage by stage using dynamic sequences as progressively harder opponents face the player.

Although it may be a compromise, it could also be said that this new game mechanic and technology influenced games in the future. An example of this might be that of the ‘Gears of war’ franchise and its ‘Horde’ game made, which saw wave upon wave of increasingly challenging enemy attack you. This in turn has been adopted into many other games since then.

 Modern interaction in games has recently been focused towards virtual reality and pushed further by combining this with motion controls. One of the most highly anticipated devices of the current and next generation is the Oculus Rift VR headset. With head tracking software and a screen attached to your face, it literally puts you in the game. Many companies have noticed it’s potential and so are combining their technology to further heighten the immersion.


http://www.gamasutra.com/view/feature/129843/designing_usable_and_accessible_.php?print=1 http://www.gamestudies.org/0301/manninen/

Elements of Game Technology, part two: sound for games

Sound is something that naturally comes to us… literally. We are born with the ability to hear, and this allows us to take in the world around us, giving us information, which in some cases triggers a visual representation of what we have experienced before. Even if we have not witnessed these events take place, we still have an understanding built from the sound that our brain has registered.

Visual entertainments have tried to enhance and further use music and sounds in order to trigger an emotional response for decades. Film has grown to create masterful scores and spend a lot of time perfecting audio in order to really create a sense that we are in the events of that film. Sound in these cases are used to instigate, fear, excitement or sadness through known and unknown sounds. They can help us to understand the world of the characters and it can draw our attention and focus to specific areas that the story teller wants us to see.

As games have developed into a more “mainstream” mode of entertainment and their popularity has increased, so have the budgets and technology. Because the technology has improved so rapidly over the years, the visuals have improved and stories in games have become more complex; even more serious and require more cinematic moments in order to help tell the story and set the players mood and focus. One thing that has come with this is the realisation of the importance of music in video games. Composers have begun to make revolutionary and popular scores to accompany a game; such as you’d find in a film. The music is important for many factors to succeed. The music can set a mood, triggering our emotions; which altogether enhances gameplay and in some cases nurtures a player’s skill. Another important use of music is identity. Some of the most popular games in the past decade have had extremely unique scores, in which the main theme will define that franchise over time. This can be seen with franchises such as Halo, Battlefield and Elder scrolls. Or classically: Mario and Sonic. This could also be said to have a major impact on sales.

The emotional response which is triggered by music may help a player, and could drastically change the way they play without them even noticing. The use of ambient sounds is important and breaks the barrier between fiction and reality. Most games may use music to do this, but others, especially in the horror genre may use ambient sounds in the environment; such as rustling trees, or creaking wood/doors. This could act as a signal to the player of where to go, but may also create a tension and fear for the player. Game developers have learnt how to use sound over the years, with the use of pentatonics, adaptive music and skilful sound theory.  Pentatonic scales have been used throughout gaming history in order to create cues to praise a player and to act as acknowledgement of a correct action. Doing this saves the use of a visual cue instead and can work with the music to enhance the players feeling throughout without them even catching on.

Elements of Game Technology, part one: game engines

Game engines are the life force behind almost every game. These powerful tools and power houses of the game industries literally drive the vehicle that is a company with making a game.
A Game engine is software that is used in the development of video games. The most modern engines include renderers, lighting options and collision/physics elements. These are now more commonly high performance pieces of kit and some of the most recent enhance and take advantage of real time lighting technologies.

Not every engine is the same however. Many of the larger triple A studios will use “in-house” engines. These are engines which are built from scratch or built up, modified versions of an older or commercially available engine. These big companies, such as EA and Ubisoft tend to use in-house engines as it is easier for them to create features for their editors which are required for their specific franchises. For example, EA’s DICE (Digital Illusions and Creative Entertainment) developed the Frostbite engine for use on the Battlefield franchise. This engine, originally produced for first person shooters allowed the developer to achieve heightened realism with destruction and other visual effects which helped raise the bar within the first person genre.

There are 4 versions of the Frostbite engine; 1.0, 1.5, 2 and 3. Each one is built with the aim of adding improvements to its predecessor as the technology became available. Because of the usability of its latest version’s; Frostbite 2 and 3 and due to the popularity of the engine and DICE itself within it’s parent company EA, the engine has expanded across into other EA owned studios. Being an EA exclusive engine, it is used in other genres now, including racing and strategy.

However, smaller studios and developers cannot afford to create their own software in order to create their games. This is where commercially available engines may be used. Some of these include Cryengine, Unreal Engine, Unity and Source. These are available for free and all features are available in the original editors. A full game can be developed in these development kits, but would normally require a license in order to sell the game. The majority of these engines were produced by larger developers which then continue to use the technology but also allow it to be available to the public.

Editors are used by artists to perform many tasks within an engine. The engine work usually being a large part of the development process. When it comes to building the level, it’s not just a matter of placing things randomly and hoping for the best. The artists much then sort out lighting to give the level the right mood and atmospheric feeling. On top of this, particle effects, dynamic moments and triggers and animations are added.

Elements of game design, part eight: documentation

Within the game industry, documentation is extremely important in order to structure the development of a product. Regardless of the project, a studio will more than likely have a written brief and plan to ensure that every employee and designer knows what they are doing.

While I have been on this course, I have realised how important these documents are. In order to keep everyone on the same page, these should all be up to date with the managers and publishers plans as they are always changing. Demonstrating how these may be laid out, I thought I’d look at how one of my final major project ideas may be planned and set out.

The overall theme of this idea is the setting of an old valley based quarry or mine. Being in a rural setting, there would be old mud and dust tracks along with vehicles to drive about and work with. With this I also hope to put in a shooting range which would allow the player to try out various rifles and guns, which could be shot at targets. I would also produce a vehicle to drive around. The platform I would aim to create this for would be for PC and next generation consoles, aimed at a generally older audience, 16+. To produce this, I’d use 3DSMax, zBrush and Photoshop to produce models and concept art work. I’d also use various other software to help in the aid of my workflow.

You as the player will be the lead character. I had not intended to make this a known person and I would instead extend my focus onto the vehicle and weapons as well as the environment.  I would not produce a visible body so I would not really require any specifications for it, other than that of the arms and hands which may be visible when using the weapons.

I would like to give the player access to a land vehicle that could be drivable. I would need to set a budget to make it look good, yet efficient in engine. I would also have to consider possibly doing an interior for the driver to see if you were to drive in first person. But this would depend on the time I have to produce it as well as practicality with my ability as an artist.

The environment would be the edge of a valley, where you arrive at a waterfall with an old coal/slate mine low down on the slope of the valley, with a small stream flowing from the waterfall past the mine house. I would have to consider the possibility of making the building open or not, but this would depend on the time and budget. However, being able to enter the building would be unnecessary for the player as it would not help with the gameplay or experience.

As the main focus would most likely be the assortment of weapons; this would be my main focus and attention throughout development. These could be a selection of weapons such as a rifle, pistol and machine gun, or I could develop a single weapon with various attachments that could be added. As for other props, I would make the shooting range look as realistic as possible. With this being the main focus, it would mean that I could make this small section my main project environment and have the rest of the environment un-explorable with less focus on some of the environment.

Having written this plan, it’s helped me to run through the process and run possibilities through my head. As well as this, I feel like it has given me the realisation that I would really have to plan what I would want to make my main focus and desire so as not to cause any confusion or make the project too large and difficult to actually complete in the given time.

Elements of Game Design, part seven: Level Design

 In a game, levels are important. Like, really important. They’re what everything else is placed in or onto. Without levels, you just have assets. Because levels are so important, it’s no surprise that level design is such a complex process when it comes to creating a good game.

In most games, levels are designed and built depending on the storyline and plan of the game itself. However, with free-roam, open world games; you will usually have one very large “world”, maybe with the addition of more, smaller maps if a narrative demands it.

Like a drawing, painting or any 2D piece, a level would be built up in layers and processes; through development stages and construction stages. The game design pipeline will be followed throughout, running through initial concepts to early builds and white boxes of the map to see if it works for what the run through of the game requires. When it actually comes to finalising the map and adding assets, these will be built up like a painting in order to make the level look real. From graffiti on the wall to a tank on fire while sitting in a destroyed wall, these details, big or small really add depth and believability within the levels.

When looking at open world games, the environment has to draw the player in wherever they may be in the game world. It has to give the visual and aesthetic feel of what it is representing. An urban, city environment such as the recent GTA:V needs to make each part of the city different and entertaining in some way, but retain the immersion of being in an LA-like American city. This can also backfire on some developers however. Take Team Bondi for example: LA Noire had a large, open-world map between single player levels. Being and impressive and visually interesting 1950’s setting it almost felt like it was there to cover up a much smaller game. There was no fast travel, meaning you had to drive through the city, usually to very far off objectives. The only thing that the open world was good for was to find collectibles, cars and occasionally help at a random crime reported on the radio. This, in my opinion shows lack of polish when finalising the game and although GTA is similar, it gives you lots of things to complete around the whole world. Be it side missions, random encounters or simply buying and upgrading cars and clothes.

Following the pipeline process, levels are usually white boxed or mapped out to give a visual idea of how a level will look and play out. This is an important part of level design as it looks at how the level can and will be played, where the player can go and reach and how. It also explores the practicality of certain visual and technical parts of the map. To make the map in the way it is planned for story or mechanical purposes could change its look and asset positioning. This may be to give the level enough spacing. This is space between different events; giving the “tempo” to the game if you like. If too much happens at once and too quickly, then the player will feel overwhelmed and rushed. Too little to do *cough* LA Noire *cough* and you will find the player getting bored and uninterested.

Level design is very important when it comes to game creation. It’s not just about the look and feel of it, but the way the whole map plays. If it is done right, you have a stunning game which is both good looking and interesting, making you want to play more. Do it even slightly wrong and you could lose focus from the player all together.

Links:

http://www.gdcvault.com/play/1304/Player-s-Expression-The-Level
http://magnarj.net/article_workflow.html
http://www.gamasutra.com/blogs/AleksanderAdamkiewicz/20120603/171137/The_importance_of_contentspacing_and_leveldesign_in_freeroam_games.php
http://en.wikipedia.org/wiki/Level_design

Elements of Game Design, part six: Visual Composition

In art, composition is a paramount understanding in the way artistic principals pull together to create an image. This can be seen in almost every master artist’s pieces; from those in history all the way to modern artists. Composition is like the ingredients to a cake; you can have all the right ingredients, but put them together in the wrong order and you won’t be having a slice.

Without composition, things in the scene can look “wrong” or out of place. On my course, this is something that you can’t afford to get wrong as you are trying to draw the viewer into the setting and make them lose focus of reality. You can’t make this happen without everything portraying the same genre, story and scope. For instance, you wouldn’t see a car in one of Da Vinci’s paintings, as it just wouldn’t be expected there and cars didn’t exist in his time. A lot of composition also therefore comes down to a good general knowledge of what is being created. If a concept piece is being drawn for a first person shooter set in the future, you would need to know what the weapons, clothing and environment look like or are based on.

Obviously a lot of artwork comes down to the imagination, which can even be noticed in some historical artwork. But the understanding of how things work in the world; the weight, the scale, reflectivity, etc. is vital in making a piece “belong”. However, composition can involve less if needed and can largely come down to the way in which light is used in the scene or how “ingredients” are positioned/mixed together. An example may come from looking at the rule of thirds and the rule of odds. The rule of odds suggests that people find an odd number of subjects look much more natural and less ordered as opposed to an even number. This is because humans pick out patterns in nature, and if a pattern is spotted the illusion can sometimes be lost. That being said, the rule of thirds helps to position the piece. Based on the golden mean (1:1.618) this understanding of division within the picture can help to naturally frame the subject of the piece and makes it much more visually interesting.

When we look at composition in 3D space, be it in a game level or when modelling and texturing a character, these rules still have to apply. A level must be built up using all the correct assets, putting them in space where they belong as well as giving them purpose. It would be no good making one long street and having the same building everywhere you look, with a tree in the middle of the road, it just looks out of place. It’s the small details which add to the composition. If you can affect the silhouette of something enough, it can look unique. Too much and it doesn’t belong. This has to be taken into account when putting a level together.

Links:
http://en.wikipedia.org/wiki/Composition_(visual_arts)
http://www.photokonnexion.com/?p=6697

http://theartofphotography.tv/episodes/rule-of-space/

Elements of Game Design, part five: Planning and Concepting

Within a game developing company, it is essential that there is a planned and very strict schedule to be followed at all times. For us on my course, we are learning how to plan and stick to these timeframes.

With each project we are set, we are given a brief which gives us the, genre/backstory, technical specifications and anything else we need to know about producing the final product. This will be given in different ways; whether we are producing work for 2D or 3D aspects.

Ultimately, these briefs are structured in similar ways. We are given the general outline of the piece before conducting research and finding reference. Then we look at silhouettes and idea generation which moves us on to a development of the concepting process and design exploration. Finally, you end up with the final conceptual idea, which can then be modelled, sculpted, imagineered, etc.

The time frame always depends on the product. For our visual design projects last year, we were usually given between 1-3 weeks, but this largely depended on whether we were drawing still life as practice or conceptualising a character or in game asset. With our Game production projects, we were given around 3-4 weeks; again, this was all down to the brief and final result we aimed for.

Already in second year, the step up is noticed. Although, there isn’t necessarily more work to do, or less time to do it in. A definite change in attitude and skill has improved everyone’s final outcomes with their work. The understanding of having a good plan is on my mind this year. I look to try and be consistent with each module, and to complete enough work to keep a balanced working ethos.

In Critical Studies we looked at the pipeline process that

an average game studio might follow. It follows a specific set of instructions throughout the process and always sticks to the brief. With our 2D conceptual projects, we usually just see it through to the final conceptual design and never all the way to actually building it in 3D space to put into a game engine. Because of this we have the developmental process, closely following that of a company’s design pipeline in game production, but less so if it’s just for a single asset/character.

The design pipeline for a company follows the entire process for creating a game. Although we don’t/haven’t made an entire game, we still follow these design aspects in order to explore and create the best ideas in these given tasks. Although there is one main structure, it largely branches out in order to focus on refinement.

For any game development team to function smoothly, the pipeline has to be closely regulated, giving you art directors and many other heads of authority keeping everyone’s stylisation and vision focused on the brief. This is an excellent way for directors to keep track of what the whole team are doing as the whole pipeline can be changed and shifted with the team still following. It is clear that without this structure and the development of all areas in the pipeline, games would be pretty pants. The clear focus of where they need the final product to be helps the development continue throughout the project, and not just at the beginning. This is how it should always be done.