Game Development Summary - Computer Games

Computer Games Mündliche - Game design Game Programming Kriterien für ein Milestesspielen - - Historie mit lassification and catigorization Es - Wonach kann man klassifizieren ↳ Per...

Computer Games Mündliche - Game design Game Programming Kriterien für ein Milestesspielen - - Historie mit lassification and catigorization Es - Wonach kann man klassifizieren ↳ Perspektive ? ↳ plattform ↳ Multidimensionale - Ludologie ↳ Warum Spielen wir ↳ Womit setzen wir uns auseinander ↳ Mechanics Dynamics (Alle unterpunkte) , , - Same Design research sformale elemente - - Pattern im Game designdocument - Concept of flow /flow cycle Aspekte vonFUN - and meaningful - Intresting Node choices ↳ , meaning ful wise choice , ↳ chain of conflexities - Game Production ↳ stages of Productio ↳ Post production viel Zeit zwie in welchen phasen ↳ Preproduction - Welche Arten von Publisher ↳ Inhouse der pu , -Teamroles ↳ Hierarchien ↳ game programing -Charakter design ↳ Artdriven Storydriven 13 golden rules , Developer work sheet - - Level design ↳ vermeiden (was gibt es zu vermeiden - Modelling and Animation ↳ Polynomal perematric and , non modelling (implicic - Beleuchtung ↳ HDR (warum Wozul > - Cinematic forward unterschiede Storytelling - ↳ dramatischer cyclus usw. > - Al ↳ flopping ↳A Suche Game Kl ↳ Was ist -serious Games and Gameification ↳ Prototyping > Wastesten - - samedesign ↳ Rules of Play ) ↳ Structure Elements of a Game ↳ Player vs Player ↳ Was sind Resourcen & Boundarys ↳ Konflikte WHAT IS GAME DEVELOPMENT? Anatomy of a Game Developer Imagination Technical awareness and programming skills Analytical competence Mathematical competence Aesthetic competence General knowledge Writing (and drawing) skills Ability to compromise Passion 16.10.2024 Game Development – Martin Weier - HSRM 30 PONG/BREAKOUT Simple “ball” games Easy to program Good seller http://www.pong-story.com 16.10.2024 Game Development – Martin Weier - HSRM 42 ZORK One of the smash hits of the text-adventure era Great story Published Nov. 1980 Game Development – Martin Weier - HSRM 43 CLASSIFICATION SCHEMES for Computer Games Dimension Perspective Platform # Players Year of release … 16.10.2024 Game Development – Martin Weier - HSRM 62 DIMENSION 1D Text based games: Zork 1: The Great Underground Empire ; inspired by the grandfather of all adventures 16.10.2024 Game Development – Martin Weier - HSRM 63 DIMENSION 2D Arcade classics in 2D: Pacman, Donkey Kong 16.10.2024 Game Development – Martin Weier - HSRM 64 DIMENSION 21Τ2D Cartoon techniques: Broken Sword 16.10.2024 Game Development – Martin Weier - HSRM 65 DIMENSION 3D Revolutionary 3D graphics: Quake 16.10.2024 Game Development – Martin Weier - HSRM 66 DIMENSION 4D 4th dimension Most popular: time Wait – Did the previous games not incorporate time? Well, all of them did 16.10.2024 Game Development – Martin Weier - HSRM 67 DIMENSION Classification criteria dimension Descriptive Unambiguous ~ Complete ~ Non-overlapping -- 16.10.2024 Game Development – Martin Weier - HSRM 68 PERSPECTIVE Central projection Three-point projection 16.10.2024 Game Development – Martin Weier - HSRM 70 PERSPECTIVE Parallel projection (isometric projection) 16.10.2024 Game Development – Martin Weier - HSRM 71 PERSPECTIVE Classification criteria dimension Descriptive Unambiguous Complete Non-overlapping -- 16.10.2024 Game Development – Martin Weier - HSRM 72 # PLAYERS Online Games Most successful MMORPG 11,5 million active subscribers 1 month - $ 14,99 World of Warcraft by Blizzard Entertainment 16.10.2024 Game Development – Martin Weier - HSRM 82 # PLAYERS Online Games has over 140 million monthly active players has generated over $3 billion in revenue in- game sales over its lifetime $318 million in revenue in 2021 $102.6 in mobile revenue in 2022 600 million copies sold since its release date in 2011 Covid-19 had a significant impact on Minecraft as active players grew by over 14 million from 2020 to 2021 average player is a 24-year-old male 16.10.2024 Game Development – Martin Weier - HSRM 84 # PLAYERS Classification criteria dimension Descriptive Unambiguous ~ Complete Non-overlapping -- 16.10.2024 Game Development – Martin Weier - HSRM 86 YEAR OF RELEASE Classify games according to their date of release 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 Game Development – Martin Weier - HSRM 88 YEAR OF RELEASE Classification criteria dimension Descriptive ~ Unambiguous ~ Complete Non-overlapping 16.10.2024 Game Development – Martin Weier - HSRM 89 CLASSIFICATION BY GENRE #2 (Rollings and Morris ~2003) Action: Lots of frantic button pushing Adventure: The story matters. Strategy: Nontrivial choices. Simulation: Optimization exercises. Puzzle: Hard analytical thinking. Toys: Software you just have fun with. Educational: Learning by doing. 16.10.2024 Game Development – Martin Weier - HSRM 98 MULTIDIMENSIONAL CATEGORIZATION #1 Aarseth, Smedstad, Sunnanà Classification attributes – Space – Time – Player structure – Control – Rules 16.10.2024 Game Development – Martin Weier - HSRM 101 MULTIDIMENSIONAL CATEGORIZATION #2 Rabin, Introduction to Game Development Perspective Perspective – Omni-present (god-like-view) Omni present Vagrant – Vagrant (player view) Geometrical D Age of Empires D Wolfenstein MP Topography Topography – Geometrical (unlimited degree of freedom) S Pac Man/football S Baldur`s Gate – Topological (limited degree of freedom) Environment Topological D Heroes of M&M D Bot fighters – Dynamic (changeable environment) S Chess S Gangster City – Static (unchangeable environment) Fig. A spatial classification using Perspective, Typography and Environment (D=Dynamic Environment, S=Static Environment) 16.10.2024 Game Development – Martin Weier - HSRM 103 LUDOLOGY DEFINED Ludology is an academic attitude to games and requires a generic approach Ludological efforts aim to understand better What games are How they work Why people play them How to design more diverse and better games Market research, technology development, background research are often too case-specific to be regarded as representatives of ludology 04.11.2024 Game Development – Martin Weier - HSRM 8 LUDOLOGY DEFINED Game Design Research A development-oriented means to practice ludology is game design research Design Research: is interested in integrating research methods and results into design and product development processes Game Design Research: is a means to apply ludology to practical game development tasks See Brenda Laurel (ed.) Design Research: Methods and Perspectives (2003) 04.11.2024 Game Development – Martin Weier - HSRM 9 DESIGN RESEARCH Key Areas in terms of Ludology Research into game design Analyses of existing games, i.e., their designs, and how players engage with those designs, i.e., play the games Research through game design Research into games that builds prototypes as its results Research for game design The most fruitful area to cover in more detail 04.11.2024 Game Development – Martin Weier - HSRM 11 DESIGN RESEARCH Making design principles explicit We can describe the Designing basic features and games is an patterns which can art assist, guide, and inspire design work Gamer Ludologist Game design research aims at Making the principles of how to design explicit Giving designers a conscious layer of self-evaluation Making it easier to consciously break the principles and to seek new forms of expression Creating vocabulary that enables communicating design ideas and teaching the trade 04.11.2024 Game Development – Martin Weier - HSRM 13 LUDOLOGICAL TOOLS & METHODS MDA Framework A formal approach to understanding games By Robin Hunicke, Marc LeBlanc and Robert Zubek Employed in the Game Tuning Workshops held in Game Developers’ Conferences since 2001 MDA framework main components: 1. Mechanics: describe the parts of a game at the level of data representation and algorithms 2. Dynamics: describe the run-time behavior of the game 3. Aesthetics: describe desirable emotional responses evoked in the player during gameplay 04.11.2024 Game Development – Martin Weier - HSRM 16 LUDOLOGICAL TOOLS & METHODS MDA Framework - Aesthetics The Aesthetics can be broken up into more distinct components, aka ‘Eight Forms of Fun ’ 1. Sensation, game as sensory pleasure 2. Fantasy, game as make-believe 3. Narrative, game as drama 4. Challenge, game as obstacle course 5. Fellowship, game as social framework 6. Discovery, game as uncharted territory 7. Expression, game as self-discovery 8. Submission, game as pastime. MDA’s goal is to provide a framework to span between game design, development, game criticism and research 04.11.2024 Game Development – Martin Weier - HSRM 17 LUDOLOGICAL TOOLS & METHODS Game Design Workshop Identifies eight basic formal elements: 1. Players 2. Objective 3. Procedures 4. Rules 5. Resources 6. Conflicts 7. Boundaries 8. Outcomes Idea: Use the formal elements to describe the current design and make Tracy Fullerton, Christopher Swain & Steven Hoffman: Game Design Workshop: Designing, sure that all aspects of a game design Prototyping, and Playtesting Games (2004) are taken into consideration 04.11.2024 Game Development – Martin Weier - HSRM 26 LUDOLOGICAL TOOLS & METHODS Game Design Patterns Typically, reoccurring level elements Physical elements Walls, blockades, junk, keys, traps, … NPCs NPC, enemy Merchant, Healer, Companion, Guard, …. Physical areas Arena, map, linear path, puzzle, … Patterns in Game Design (2004): A collection Level structures and superstructures of almost 300 patterns Base, labyrinth, … City, open world, … 04.11.2024 Game Development – Martin Weier - HSRM 29 WHAT IS FUN? Education == Entertainment Life is all either work, rest, or fun Fun is about practicing or learning new survival skills in a relatively safe setting. People who didn’t enjoy that practice were less likely to survive to become our ancestors Marshall McLuhan (1911-1980), philosopher and communications theorist whose work is among the cornerstones of the study of media theory. 04.11.2024 Game Development – Martin Weier - HSRM 6 NATURAL FUNATIVITY THEORY Basic concept is that all fun derives from practicing survival and social skills human brain wired to enjoy learning skills encephalin, endorphins… multiplayer motivation to top someone else Three overlapping categories 1. Physical, 2. Social, and 3. Mental It’s just a game 04.11.2024 Game Development – Martin Weier - HSRM 9 NATURAL FUNATIVITY THEORY Physical Fun Sports generally enhance our strength, stamina, coordination skills Exploration is fun − Both of local area and knowledge of exotic places Hand/eye coordination and tool use are often parts of fun activities – crafts Physical aspect to gathering “stuff” Training often aspect in game 04.11.2024 Game Development – Martin Weier - HSRM 10 NATURAL FUNATIVITY THEORY Social Fun Storytelling is a social activity −A way to learn important survival and social lessons from others Gossip, sharing info w/friends popular Flirting, showing off, finding mates is a key interest in social fun Language has become paramount 04.11.2024 Game Development – Martin Weier - HSRM 11 NATURAL FUNATIVITY THEORY Mental Fun Our large brains make humans unique Pure abstract reasoning practice is fun Pattern matching and generation −Music, Art, and Puzzles all pattern based Gathering also has mental aspect, categorizing and identifying patterns 04.11.2024 Game Development – Martin Weier - HSRM 12 NATURAL FUNATIVITY THEORY Multipurpose Fun Many fun activities have physical, social and mental aspects in combination Games that mix these aspects tend to be very popular Incorporate ways to practice these skills to increase the popularity of games 04.11.2024 Game Development – Martin Weier - HSRM 13 NATURAL FUNATIVITY THEORY Deconstructing Fun Fun Activity Physical Aspects Social Aspects Mental Aspects Playing Quake Mastering mouse and Cooperative hunting, Developing tactics, keyboard, practicing Playing in teams or applying strategies, moves against other players, adapting to others discussing game Playing Halo Mastering controls, Following story, Choosing weapons buttons, hand-eye playing with or tactics to use against coordination against humans different enemies Playing The Sims Mastering interface, Discussing quality of Choosing most learning most Sharing stories about efficient skills, actions efficient placement of Sims, playing with to grow family or furniture to provide others, reading about meet player-set goals pathways tips and hints online Playing Grand Theft Learning to move, Dealing with game Choosing and Auto fight, drive, and characters, planning strategies, navigate through the discussing tactics, selecting routes world tips with friends 04.11.2024 Game Development – Martin Weier - HSRM 15 CHOICES A Series of … Choices in Pursuit of a … Goal Must have choice, or it Must be a series of Must have a goal or it With Sim City and The is not interactive choices or it is too is a software toy Sims players may bring simple to be a game their own goals 04.11.2024 Game Development – Martin Weier - HSRM 18 CLEAR AND COMPELLING GOAL A Series of … Choices in Pursuit of a … Goal Clear goal Because it is not fun to flounder aimlessly Avoid the “protagonist with amnesia” cliché Compelling goals Are goals that follow the concepts in Natural Funativity Survival is always a compelling goal 04.11.2024 Game Development – Martin Weier - HSRM 20 A SERIES OF CHOICES No choice Game Development – Martin Weier - HSRM 21 A SERIES OF CHOICES Meaningless choices Obviously fold back into same path Players discover this quickly Game Development – Martin Weier - HSRM 22 A SERIES OF CHOICES Wise choice Kill off player with any wrong choice Better but frustrating Game Development – Martin Weier - HSRM 24 A SERIES OF CHOICES Convexity Starts with a single choice, widens to many choices, returns to a single choice Game Development – Martin Weier - HSRM 26 A SERIES OF CHOICES Fractal structure Large scale structure repeated on medium, smaller scales, like a coastline In the case of convexities, each circle is not a single choice, but a convexity Example: Age of Empires Take a defensive stance, create squad to defend left flank, collect resources to build a legionnaire, etc. → many small tasks / convexities Game Development – Martin Weier - HSRM 28 A SERIES OF CHOICES Chains of convexities Very common for games Points of limited choice (A) alternate with points of many choices (B) B B B B A A A A A Game Development – Martin Weier - HSRM 29 A SERIES OF CHOICES Series of convexities Many overlapping convexities in great games Player can be starting one task or area, in the middle of another, and at the end of a third, all simultaneously Examples include Halo, Zelda games, Civilization, Diablo II, many others 04.11.2024 Game Development – Martin Weier - HSRM 31 FLOW The Concept of Flow Flow describes and attempts to explain a state of mind Feeling of Clear goals effortlesness Feeling of happiness / euphoria − high concentration − Complete absorption in an activity − Time flies Harmony requirement / Concentration ability Flow occurs when there is direct control of a complex, fast-moving event between excessive demand (anxiety) and insufficient demand (boredom). Feeling of control 04.11.2024 Game Development – Martin Weier - HSRM 35 FLOW The Flow Channel Too Hard (Frustrating) Best to introduce skills one at a time, Increasing Difficulty let player master them, move on to y P ro g re ssi o n fi c u l t new Id eal G am e D if This results in staggered increase in difficulty (wavy difficulty line) Too Easy (Boring) Increasing Time (and Player Skill) 04.11.2024 Game Development – Martin Weier - HSRM 38 FLOW Vary Increase in Difficulty Ideal Game Difficulty Progression B B B B A A A A A = Rapid Difficulty Increase, B = Slower Increase 04.11.2024 Game Development – Martin Weier - HSRM 39 FLOW Typical Game Mechanisms High difficulty increase: - boss monsters - climactic battles - quest resolutions - … Low difficulty increase: - bonus levels - new resource- and treasure-rich areas - series of easy “minion” enemies - … Overlap introduction of new skills, areas to explore, tools, enemies 04.11.2024 Game Development – Martin Weier - HSRM 41 CHOICES AND FLOW Story and Character Back to achieving “interesting choices” and “compelling goals” Story and character can add emotional association, strengthen reaction Storytelling has long history, but interactive storytelling can differ critically from traditional linear modes 04.11.2024 Game Development – Martin Weier - HSRM 42 CHOICES AND FLOW Interactive Storytelling Blend storytelling with design early Use experienced interactive writers “Do, don’t show” – let players experience story through interaction Make it personal by having players make key choices, events affect them 04.11.2024 Game Development – Martin Weier - HSRM 43 CHOICES AND FLOW It’s all about interactivity Don’t make choices for the player Story should add emotional context to the choices Keep any cut scenes brutally short Break up non-interactive sequences by adding interactivity, even if very simple (Quicktime events) 04.11.2024 Game Development – Martin Weier - HSRM 44 CHOICES AND FLOW Characters Characters can make the game world seem more real and exciting Bold stereotypes may seem crude but are better than colorless characters Bring out character through action, not description or exposition 04.11.2024 Game Development – Martin Weier - HSRM 45 GAME PRODUCTION Production Cycle Successive phases Iterative process Repetitively 03.11.23 Game Development – Martin Weier - HSRM 6 GAME PRODUCTION Production Phases Preproduction Production Testing Postproduction 03.11.23 Game Development – Martin Weier - HSRM 7 PREPRODUCTION Goal: Create a Game Plan Definition of: What is the game? How long will it take to make? How many people will be needed? How much will it cost? 10 - 25% of the development time Components of pre-production: 1. Game Concept 2. Game Requirements 3. Game Plan Create Game Design Document 03.11.23 Game Development – Martin Weier - HSRM 9 PREPRODUCTION 1. Game Concept Initial concept: - Usually defined by the studio management or publisher. Then elaborated by the core development team Mission Statement - What will be done? (not yet how it will be done!!) - For whom? Basic gameplay elements - Mechanics, genre, story, characters, salient features - Paper prototypes => Later, playable prototype Risk analysis - Minimize risks and find constants (e.g., team size, technology, platform) First pitch ("elevator pitch") to studio management/publisher 03.11.23 Game Development – Martin Weier - HSRM 10 PREPRODUCTION 2. Game Requirements Basic art, design and engineering features, and project constraints, basic technical and design documentation (developed by all team members). Features must fit within the game concept and mission statement. Define core features - "Must have", "want to have", "would be nice to have" Define milestones - Monthly milestones or first playable, alpha, beta milestones Clear definition of deliverables Technology analysis - Required tools and production pipeline Creation of basic technology and design documentation Risk analysis: What are the biggest risks of the game so far? Feedback from studio management/publisher/marketing 03.11.23 Game Development – Martin Weier - HSRM 11 PREPRODUCTION 3. Game Plan Contains the previously collected information Plan for - Budget - Schedule - Staffing Led by the producer but coordinated with the core development team Reviewed by the whole team (especially the play requirements) Yet another risk analysis Obtain feedback from studio management/publisher...again 03.11.23 Game Development – Martin Weier - HSRM 12 PRODUCTION Do not start until 10 - 25% of the development time has already elapsed! - With significantly increased staff and budget Content and code creation The line between pre-production and production is often blurred Not many surprises when pre-production is planned for everything (?) Changes often required: - Features/assets need to be added, changed, or removed Staged implementation strategy (core features and assets first) alleviates problems Ongoing risk assessment Components of production: 1. Planning the implementation 2. Tracking progress 3. Task completion 03.11.23 Game Development – Martin Weier - HSRM 14 PRODUCTION 1. Planning the implementation Final game plan as the main reference! - Must be communicated to the entire team -...and always be available E.g. Hard copies of all important deadlines and milestones in each team room. - Must be kept up to date Tools and resources must be made available Regular "feature creep" checks Dynamic schedule for each team to manage task dependencies 03.11.23 Game Development – Martin Weier - HSRM 15 PRODUCTION 2. Tracking progress Tracking progress against the game plan - How much of a feature has been implemented? - Can the deadline be met? Keep it simple stupid!!! àKISS - Avoid complex software (or train the team to use the software they want). - e.g. use checklists in Microsoft Excel Must be available for the team to see progress 03.11.23 Game Development – Martin Weier - HSRM 16 PRODUCTION 3. Task Completion Simple in most fields - e.g. Art and Design assets... but difficult in some fields - e.g., engineering Define exit criteria - Conditions for completion of a task - Must be easy to understand - Must be available to the team When working for a publisher, exit criteria for key milestones must be clearly defined in the publisher-developer agreement! 03.11.23 Game Development – Martin Weier - HSRM 17 TESTING Continuous throughout the production process Testing for - Correct functionality - Crash bugs QA department checks (Quality Assurance) - Milestone builds - New functionality and new assets Post-beta: - Team implements bug fixes and creates new builds - QA reviews new builds Components of testing: 1. Plan validation 2. Code release 03.11.23 Game Development – Martin Weier - HSRM 19 TESTING 1. Plan Validation Create test plan - Based on the planned features and assets QA department trains the development team on the testing process and how to use the bug tracking software The game must be validated in all areas - Different languages - Different hardware setups - Any combination QA is responsible for finding and fixing bugs 03.11.23 Game Development – Martin Weier - HSRM 20 TESTING 2. Code release Last step before shipping!!! At this point: - most important bugs are fixed - the code is functional - the game assets are finished Test CRC (Code Release Candidate) against the whole test plan - Sufficient time should be allocated for this process On a console title: - Approval of the console manufacturer - Correct any objections - Resubmit code pending approval 03.11.23 Game Development – Martin Weier - HSRM 21 POSTPRODUCTION Complete the development process of the game Often forgotten or ignored...... but important for future projects - Review the pros and cons of the development process - "Closing Kit" prepare à Archive, etc. - Relax... Components of post-production: 1. Learning from experience 2. Archiving plan 03.11.23 Game Development – Martin Weier - HSRM 23 POSTPRODUCTION 1. Learning from experience Carrying out a "postmortem examination" (postmortem) - Review of pros and cons - Finding solutions for process improvement - Publish results to the entire development team "Mini" obductions could be conducted at key milestones. Archiving plan Creation of the "Closing Kit". - Contains design documentation, source code, source art assets, etc. Necessary for use in future projects/versions. Especially useful for the next iteration of a franchise game 03.11.23 Game Development – Martin Weier - HSRM 24 GAME INDUSTRY Developer-Publisher Relationship Two types of developers 1. In-house à Developer studio belongs (to) publisher Already paid for by the publisher More flexibility in reviewing milestones Processes are consistent and lean/simplified/optimized Experts from other projects can be brought in temporarily Disadvantage: publisher has more control over the project 2. External Business risk in any contract with ext. publishers Internal processes must be translated into publisher's system Publisher can change features 03.11.23 Game Development – Martin Weier - HSRM 42 GAME INDUSTRY Developer-Publisher Relationship Two types of producers 1. Publisher producer Check milestone compliance Authorize payment Coordinating marketing and/or localization Dealing with license approvals Advocate for the developer with the publisher 2. Developer producer Daily management of the development team Creating the game development plan and ensuring its completion Human resources Equipping the team 03.11.23 Game Development – Martin Weier - HSRM 44 GAME INDUSTRY Developer-Publisher Relationship Publisher must be informed about game progress If no information is available: - Resources are assigned to other projects - Project is assigned to another developer - Project is cancelled Developer needs resources and support If no feedback is available: - Game does not meet publisher's expectations - More time required à more cost for publisher and developer 03.11.23 Game Development – Martin Weier - HSRM 46 15,50 0,00 15,50 ROLES IN A TEAM à Produktion Art Engineering Design Quality Assurance/Testing Team Organisation 08.11.23 Game Development – Martin Weier - HSRM 5 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Production Management and follow-up of the development of the game Main liaison between the development team and any external parties. Main tasks: keeping the team happy, motivated and productive. This includes: Keeping to schedules Dealing with personal issues Negotiating contracts Proofreading marketing texts... (everything else outside the creation of game Source: www.backstage.com content) 08.11.23 Game Development – Martin Weier - HSRM 6 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Production Executive Producer (EP) - Usually 5 - 10 years production experience - Oversees multiple projects - Role: Ensure that the game development process runs smoothly and efficiently Producer - Usually 3 - 5 years production experience - Leads a project and development team - Role: Deliver the game on time, on budget, with all expected features and to the highest possible quality. Associate Producer (AP) - Typically, 1 - 3 years production experience - Assist the producer with all production related tasks. - Typical task: produce main aspects of the game 08.11.23 Game Development – Martin Weier - HSRM 7 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Production Producers can have different. May have different backgrounds Skills required: Strong leadership Effective communication Highly developed organizational skills A desire to work with (and for) others Training opportunities: Knowledge of the games industry Training in project management Training in human resource management Public speaking 08.11.23 Game Development – Martin Weier - HSRM 8 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Artists Responsible for the creation of the graphic assets Work closely with designers on objects, worlds and cinematics Working with the engineering team to determine how to use the technology can be used most effectively Positions: Art director Asset artist Lead artist Animator Concept artist Technical artist World builder or level designer Marketing artist 08.11.23 Game Development – Martin Weier - HSRM 10 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Art Director Usually 5 - 10 years of professional experience Very experienced and respected artist Main function: communicating the artistic vision to the team. Ensures that all artistic assets relate to each other Not every project has an art director 08.11.23 Game Development – Martin Weier - HSRM 11 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Lead Artist Typically, 3 - 5 years' experience in game development. Manages the quality of the art assets and the daily tasks of the team Manages the art staff Allows the art director to focus on the creative aspects of the game If the team does not have an art director, the lead takes over their responsibilities 08.11.23 Game Development – Martin Weier - HSRM 12 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Other artists Specialized positions Concept Artist - Visionary à Creation of concepts of art assets before they are produced World Builder / Level Designer - Creation of geometry and textures for the game world Asset Artist - Creation of the assets that appear in the game world Animator - Creation of all in-game and cinematic animations Technical Artist - Managing the technical side of asset creation Marketing Artist - Create all marketing assets 08.11.23 Game Development – Martin Weier - HSRM 13 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM How to become a game artists Skills required: Creativity Traditional artistic skills (painting, drawing, sculpting). Use of software to create 2D or 3D assets Strong communication skills Some technical background knowledge Training opportunities: Knowledge of the games industry Courses at art schools or universities Modding communities 08.11.23 Game Development – Martin Weier - HSRM 14 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Engineering Responsible for the creation of all code Involved in every aspect of the game (graphics, animation, scripting, tools, physics, user interface, sound,...) Worked closely with the art team to identify technical needs. 08.11.23 Game Development – Martin Weier - HSRM 16 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Engineering Tasks: Create design documents Define the necessary functionality Implement functionality Revise functionality based on feedback from other teams Types: Technical director Lead engineer Engineer 08.11.23 Game Development – Martin Weier - HSRM 17 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Engineering – Technical Director Usually 5 - 10 years of experience Qualified Engineer Responsible for: - Setting code standards - Determining which technologies are used - Coding and maintaining libraries -... Some time is spent researching the latest technology and how it can be used in the current project. Not every project has a TD 08.11.23 Game Development – Martin Weier - HSRM 18 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Engineering – Lead Usually 3 - 5 years of experience General knowledge in all areas of game technology Responsible for: - Managing the daily tasks of the team - Sometimes creating code... ;-) - … Works closely with the TD to set technical standards for the game. Takes over TD tasks if TD is not available 08.11.23 Game Development – Martin Weier - HSRM 19 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Engineering – Other roles multiplayer Code Network engineer works with multiplayer designer creates sound engine Sound engineer works with sound designer creates graphic code Graphic designer works with technical artist creates tools used during game development (e.g., scripting, lighting, Tools engineer exporting, localization tools,...) works with many different people in a team create artificial intelligence for the game AI engineer works with the design team. 08.11.23 Game Development – Martin Weier - HSRM 20 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM How to become an engineer? Required skills: Knowledge of programming languages, operating systems, compilers, debuggers, application programming interfaces (APIs), networks, databases, AI, UIs,... Educate yourself in the latest technology Strong communication skills Work in a team-oriented environment Have a good relationship with a variety of personalities Educational opportunities: Degree in computer science Self-taught Knowledge of the games industry 08.11.23 Game Development – Martin Weier - HSRM 21 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Designer Responsible for the - development, - the documentation and - the scripting of the core concept for a game. Involved from start to finish Working closely with artists and engineers Goal: Create an immersive gaming experience! 08.11.23 Game Development – Martin Weier - HSRM 23 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Designer Tasks: - Brainstorming and prototyping potential game ideas. - Implementation of the game design (scripting missions, writing dialogues, playtesting,...) - Testing - Incorporating feedback and redesigning if necessary Types: - Creative director - Lead designer - Designer - Writer 08.11.23 Game Development – Martin Weier - HSRM 24 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Designer – Lead Typically, 3 - 5 years design experience Responsible for managing the daily tasks of the team Leads the design team : - Documentation of design concepts - Gameplay prototyping - Implementation of design features - Gameplay balancing - Redesign of features as needed Takes over CD tasks if not available 08.11.23 Game Development – Martin Weier - HSRM 26 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Designer – Other roles designs system components (e.g. scoring system, combat System designer model, controller scheme, character creation system,...). UI designer creates the user interface creates level layouts (could also be considered as an art Level designer position; sometimes the designer creates the layout on paper and then the artist builds the levels) Scripter places interactive objects and characters in levels General term for various functions Game designer Responsible for the creation, prototyping, implementation and balancing of various areas of the game. 08.11.23 Game Development – Martin Weier - HSRM 27 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM How to become a designer? Different backgrounds Requirements: - Strong communication skills (oral and written). - Familiar with game theories and plays many games - Open-minded - Sense of what is fun and entertaining for the players Training: - Knowledge of game theories - Play many games and work in mod communities - Broad education (e.g., computer science with a minor in art, liberal arts school,...) 08.11.23 Game Development – Martin Weier - HSRM 28 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Quality Assurance/Testing Responsibilities are: - Play-testing, play-testing, play-testing!!! - Finding bugs in the game Normally the work starts when the first playable builds are available Often the last work before shipping the game Working closely with the whole development team Types: - Lead QA Tester - QA Tester 08.11.23 Game Development – Martin Weier - HSRM 30 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Quality Assurance/Testing – Lead Usually 2 - 3 years of experience as a QA tester Responsible for writing the test plan Works closely with the producer and other leads to evaluate the features of the game from a testing perspective Tasks: - Determines with the producer and leads when the game will be released with code - Manages and assigns specific tasks to all QA testers 08.11.23 Game Development – Martin Weier - HSRM 31 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Quality Assurance/Testing – Tester Most of the time: playing the game! Knowing the overall fun factor Responsible for: - Checking functionalities against the test plant - Testing new functions and prototypes - Finding bugs in the game software - Checking that the game meets all the technical requirements of the console manufacturer 08.11.23 Game Development – Martin Weier - HSRM 32 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM How to become a QA guy? Good entry point into the games industry This position is exposed to all aspects of game development Requirements: Good at analyzing problems and their root cause Good written and verbal communication skills Good organizational skills (lead) Training: No formal training Fun to play with 08.11.23 Game Development – Martin Weier - HSRM 33 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Team Organization The team hierarchy depends on the size of the team and the role requirements. Small teams often have a single person who fulfils different roles (e.g. producer and lead designer). Large companies often have clearly defined roles (e.g. UI artist or AI engineer). In any case, hierarchies should be clearly defined 08.11.23 Game Development – Martin Weier - HSRM 35 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Team Organization – Small Teams Typical small team with producer management structure Producer manages leads Leads manage the rest of the team Multiple roles possible 08.11.23 Game Development – Martin Weier - HSRM 36 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Team Organization – Big Teams Still producer-lead model Specialized areas Multiple levels (e.g., a network technician can have several network technicians under him) Associate producer to assist the producer with day-to-day management 08.11.23 Game Development – Martin Weier - HSRM 37 15,50 0,00 15,50 15,50 0,00 15,50 ROLES IN A TEAM Team Organization – Very Big Teams Teams with Executive Producer are more common for larger development teams Producer leads the staff, Creative Director leads the creative vision of the game Leads as intermediary between directors and rest of team 08.11.23 Game Development – Martin Weier - HSRM 38 15,50 0,00 15,50 DEFINING GAMES Rules of Play – Salen/Zimmerman System: A set of parts that interrelate to form a complex whole (game as a system: a mathematical system, a social system, a representational system etc. ) Players: A game is something that one or more participants actively play. Players interact with the system of a game in order to experience the play of the game. Artificial setting: Games maintain a boundary from so-called "real life" in both time and space. 05.02.24 Game Development – Martin Weier - HSRM 7 DEFINING GAMES Rules of Play – Salen/Zimmerman Conflict: All games embody a central contest of powers. The contest can take many forms, from cooperation to competition, from solo conflict with a game system to multiplayer social conflict. Rules: They provide the structure out of which play emerges, by delimiting what the player can and cannot do. Quantifiable outcome: Games have a quantifiable goal or outcome. At the conclusion of a game, a player has either won or lost or received some kind of numerical score. 05.02.24 Game Development – Martin Weier - HSRM 8 GAME ELEMENTS Structural Elements of a Game System -Procedures Players Artificial setting -Objectives -Resources -Boundaries Conflict Rules Outcome 05.02.24 Game Development – Martin Weier - HSRM 12 GAME ELEMENTS Questions to ask yourself What is the core gameplay? What is the conflict in my game? Who is the target audience? Are there turns? How do they work? How many players can play? What actions do the players take and when? What are the rules and procedures? What restrictions or opportunities does that environment have? What is the outcome/reward of playing? How long does a game take to resolve? 05.02.24 Game Development – Martin Weier - HSRM 14 PROCEDURES Connect Four Choose a player to go first. Each player in his turn drops one of his color checkers down any of the slots in the top of the grid. The play alternates until one of the players gets four checkers of his color in a row. The four in a row can be horizontal, vertical, or diagonal. 05.02.24 Game Development – Martin Weier - HSRM 19 PROCEDURES There are several types of procedures in most games: Starting action How to put a game into play. Progression of action Ongoing procedures after the starting action. Special actions Available conditional to other elements or game state. Resolving actions Bring gameplay to a close. 05.02.24 Game Development – Martin Weier - HSRM 21 PLAYERS Interaction Patters 05.02.24 Game Development – Martin Weier - HSRM 25 OBJECTIVES Some questions about objectives in your own games: What are some objectives of games you've played? What impact do these objectives have on the tone of the game? Do certain genres of play lend themselves to certain objectives? What about multiple objectives? Do objectives have to be explicit? What about player-determined objectives? 05.02.24 Game Development – Martin Weier - HSRM 27 OBJECTIVES Example Capture/Destroy Chase Race Alignment Rescue or escape Forbidden Act Construction Solution Exploration Outwit 05.02.24 Game Development – Martin Weier - HSRM 30 RESOURCES Assets that can be used to accomplish a certain goal Managing the players access to resources is the most important key feature to game balance Image from: Die Siedler von Catan 05.02.24 Game Development – Martin Weier - HSRM 42 BOUNDARIES “Boundaries of games create the 'magic circle,' a temporary world where the rules of the game apply, rather than the rules of the ordinary world “ Johan Huizinga Physical boundaries Conceptual boundaries Image courtesy: Wikipedia 05.02.24 Game Development – Martin Weier - HSRM 53 CONFLICT Conflict emerges from the players trying to accomplish the goals of the game within its rules and boundaries Designed into game by creating rules and procedures that do not allow to accomplish goals directly 05.02.24 Game Development – Martin Weier - HSRM 56 CONFLICT Examples Pinball: Keep the ball from escaping the field of play using only the flippers or other devices provided. Golf: Get the ball from the tee to the hole, past any obstacles on the course, in as few strokes as possible. Monopoly: Manage your money and your properties to become the richest player in the game. Quake: Stay alive while player and nonplayer opponents try to kill you. WarCraft III: Maintain your forces and resources, while using them to command and control the map objectives. Poker: Outbid opponents based on your hand or your ability to bluff. 05.02.24 Game Development – Martin Weier - HSRM 57 RULES A game is governed by rules Rules define game objects and allowed actions - have to be learned by players - laid out in the rules document Creative aspects - Rules must be fun - Rules must make sense Design aspects - Rules must be consistent - Rules must be balanced - Rules must be fair 05.02.24 Game Development – Martin Weier - HSRM 60 RULES Operational & Implicit Understand difference between rules and procedures Operational rules How to play the game Moves, actions Scoring Begin situation, winning condition 05.02.24 Game Development – Martin Weier - HSRM 62 RULES Operational Rules - Basketball How to play the game - Two teams of five players each try to score points on one other by throwing a ball through a hoop (the basket). Moves, actions - Player can only hold the ball whilst standing otherwise it must be dribbled. - The ball can be thrown, physical contacts between members of different teams are forbidden. Scoring - A ball thrown through a ring scores. Winning condition - The team with the most points wins. 05.02.24 Game Development – Martin Weier - HSRM 63 RULES Operational & Implicit Operational rules How to play the game Moves, actions Scoring Begin situation, winning condition Implicit rules How long to think You are not allowed to stop You can not distract your opponent Underlying mechanisms For example, how to compute who wins a battle 05.02.24 Game Development – Martin Weier - HSRM 64 RULES Balance Rules must be balanced Players have equal chance of winning Rewards are balanced with challenges or risks Features of the game must be balanced with each other 05.02.24 Game Development – Martin Weier - HSRM 68 OUTCOME Most games have a predefined ending The game checks, whether end condition is achieved, if so, the game terminates The player wins, if he had achieved some predefined goals. Zero-Sum games have a winner and a loser Many games are not zero-sum games => ranking systems, statistics, other objectives 05.02.24 Game Development – Martin Weier - HSRM 70 OUTCOME So, it’s about winning, right? Let’s play a game: - How to play the game: Use keyboard - Moves, actions: Explained whilst playing - Scoring: The right button scores - Winning condition: Press the right buttons the right times Sometimes “The journey is the reward.” The outcome must be at knife’s edge, the action challenging, the prize must be worthy. Difficult to recognize player’s ability (cf. GD07 Gameplay) 05.02.24 Game Development – Martin Weier - HSRM 74 CHARACTER Types Player characters (PC) Non-player-characters (NPCs) Main character is called protagonist protagonist's engagement with the problem creates the conflict that drives the story Antagonist opposes the main character's attempts to solve the problem Characters may be major or minor major characters have a significant impact on the story minor characters have a small impact 17.11.23 Game Development – Martin Weier - HSRM 5 CHARACTER Representations Player characters can be represented by an avatar or not represented at all. In Hinduism, an Avatar is defined as the incarnation (bodily manifestation) of an Immortal Being, or of the Ultimate Supreme Being. It derives from the Sanskrit word "Avatara" which means "descent" and usually implies a deliberate descent into mortal realms for special purposes. First used by Neal Stephenson in his groundbreaking book “Snow Crash” 17.11.23 Game Development – Martin Weier - HSRM 7 CHARACTER Design Task of character design: Create a bond between the player and the character Two major approaches: 1. Art-driven character design 2. Story-driven character design Image courtesy: Wikimedia 17.11.23 Game Development – Martin Weier - HSRM 9 CHARACTER Art-driven character design Characters developed from a purely artistic source Appearance of a character is decided upon first No well-developed background story, story not essentially needed in the game Generally, for simpler games, e.g., Pac-Man, Mario, Pokémon Cuteness works well - brings on protective feelings - often overdone (except for Japan) 17.11.23 Game Development – Martin Weier - HSRM 10 CHARACTER Art-driven character design Personal character with deep background Character is developed, background laid out, then decided upon an appearance Story unfolds whilst playing, background likewise 17.11.23 Game Development – Martin Weier - HSRM 11 CHARACTER Believable Characters Three Golden Rules 1. The character needs to intrigue the player. 2. The character needs to get the player to like him. 3. The character needs to change and grow according to experience. 17.11.23 Game Development – Martin Weier - HSRM 12 CHARACTER Growth 17.11.23 Game Development – Martin Weier - HSRM 13 CHARACTER Archetypes Hero Mentor Allies Higher Self Shape Shifter Threshold Guardian Trickster Shadow Herald 17.11.23 Game Development – Martin Weier - HSRM 14 CHARACTER Development Worksheet 1. Are the game's characters primarily art-based or story-based? 2. What style is your art-based character drawn in: cartoon, comic- book superhero, realistic, gothic? Will your character be exaggerated in some way: cute, super-sensual, or otherwise? 3. Do your art-based characters depend upon visual stereotypes for instant identification? If they are more subtle, how does their appearance support their role in the game? 4. Can the player tell by looking at a character how that character is likely to act? Are there reasons for wanting a character's behavior to be predictable from his appearance, or is there a reason to make the character ambiguous? 5. If the game has an avatar, does the avatar have a sidekick? What does it (offer the player—information, assistance)? How will the sidekick complement the avatar? 17.11.23 Game Development – Martin Weier - HSRM 15 CHARACTER Development Worksheet 6. With a story-based character, how will you convey the character's personality and attitudes to the player? Through narration, dialog, gameplay, backstory, or other means? 7. How does the character's grammar, vocabulary, tone of voice, and speech patterns contribute to the player's understanding of her? 8. Specifically in the case of avatar characters, what about the avatar will intrigue and interest the player? 9. What about the avatar will encourage the player to like him? 10. How will the avatar change and grow throughout the game? 11. Does the character (any character, not just the avatar) correspond to one of Campbell's mythic archetypes: the hero, mentor, ally, threshold guardian, and so on? Or does he have a less archetypal, more complex role to play, and if so, what is it? 17.11.23 Game Development – Martin Weier - HSRM 16 CHARACTERS Enemies Enemy does not necessarily mean “character” hazards, hostile NPCs – in a way even speed, playing time Set their attributes or properties according to game balance Placement criteria are difficulty ramps risk/reward values narrative considerations Image from: https://dc.fandom.com/wiki/Batman_Villains 17.11.23 Game Development – Martin Weier - HSRM 18 CHARACTERS NPC Account for the storyline Oppose or facilitate the player attack the player lurk him to a certain path through the level reveal specialties teach him abilities … 17.11.23 Game Development – Martin Weier - HSRM 19 CHARACTERS Boss NPC A “boss” is a payoff bad guy Used as action highlight and story climax (e.g., beating Diablo) Origins from arcade days (defeating the most difficult enemy) Beating smaller boss (mini-boss) as reward/training Image courtesy: Sony Interactive Entertainment 17.11.23 Game Development – Martin Weier - HSRM 20 LEVEL DESIGN Designing the World Besides designing the rules and core mechanics Think about the different aspects of the game world Make motivated decisions for every issue/feature Make sure it is all in harmony and consistent with the core mechanics Middle Earth Map by Kevan Emmott 17.11.23 Game Development – Martin Weier - HSRM 33 LEVEL DESIGN Separating the Game into Levels Space Invaders, Pac Man – one level Super Mario – multiple levels War Craft, C&C – Campaigns WoW, GTA, Minecraft - has worlds Civilization, Sims - no level separation Image from: https://www.mariowiki.com/Level 17.11.23 Game Development – Martin Weier - HSRM 34 LEVEL DESIGN Separation Level Separation due to technical reasons => geometry, textures, NPCs, … dramaturgical reasons advance storyline introduce new settings, characters end boss aesthetical reasons introducing new settings/styles/cultures/… Level order should follow separation reason 17.11.23 Game Development – Martin Weier - HSRM 35 LEVEL DESIGN Balance Design challenge to balance levels level flow increasing challenge 17.11.23 Game Development – Martin Weier - HSRM 36 LEVEL DESIGN Pacing Pacing determines the speed of action(s) Give the play rhythms Engage dramaturgical settings Shakespear’s Julius Caesar 17.11.23 Game Development – Martin Weier - HSRM 37 LEVEL DESIGN General Tips Player must not get stuck Sub-goals clear Orientation landmarks Critical path through the level Limited backtracking No first-time success Navigable areas clear marked Alternative routes (meaningful choices) Image courtesy: Wikipedia 17.11.23 Game Development – Martin Weier - HSRM 38 LEVEL DESIGN Common Mistakes Room-to-room transition that just doesn’t work. Don’t make your whole level a Awkward room flow series of hospital rooms next to each other with a hallway down the center. Dead ends that suddenly and/or Hasty dead ends inconceivably “halt” the flow of the level. Just because you can use everything at Using every enemy or power-up once doesn’t mean that you should. at once Generally, you want to pace the use of your enemies. 17.11.23 Game Development – Martin Weier - HSRM 43 LEVEL DESIGN Common Mistakes Don’t use too many switches. Also, don’t Overuse of switch systems make switch puzzles too tricky and trap your player. Don’t make everything too obvious. Let No surprises the player find hidden areas and untold secrets. Give the player a satisfying reward. Mini- visual payoffs. Identify areas where you No payoff point seek to visually dazzle the player as a reward for progress. 17.11.23 Game Development – Martin Weier - HSRM 44 LEVEL DESIGN Common Mistakes Test players with your enemy pacing, simple solution finding, and enemy challenges. Use Get me stuck props and texture markers to help tell player where he is in your level. Help player to know what she is after, but No purpose or too much purpose don’t make it stale. Avoid intelligent paper clip mistake (of MS Office). Use NPCs wisely. Teach the player, but do Guide my every move not force. 17.11.23 Game Development – Martin Weier - HSRM 45 LEVEL DESIGN More Tips Level design is a process of evolvement and refinement. Work with the big picture of your game present in your approach Before geometry construction, establish team guidelines for all major issues (for example, scale, grid sizing, and character heights) Prototype game mechanics where possible, before committing large development resources Image courtesy: Wikimedia 17.11.23 Game Development – Martin Weier - HSRM 53 LEVEL DESIGN You get the point Complete the level design phase with a complete test pass through the level Test, test, test Identify problems or issues Communicate these quickly and early to appropriate team members 17.11.23 Game Development – Martin Weier - HSRM 56 MODELLING Two Ways to Define a Circle Parametric Implicit f>0 f=0 u f