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DaveTroyer

Member Since 13 Sep 2012
Offline Last Active Apr 12 2013 12:18 PM
*****

#5047342 Whats more valuable on the resume?

Posted by DaveTroyer on 27 March 2013 - 12:58 PM

In my opinion, it is good to have something published and if it's good enough to be shown to the world, it should be good enough for your portfolio. 

 

But that brings me to a different point. Develop a critical eye for your work. When you publish something on a digital distributor like XBLA, Steam, or even mobile devices, you need to be very critical of what you're showing the world. Potential employers, clients, and colleagues can all see what you've put out there and they will all use that work to determine your skills.

 

Be sure to polish the game play as much as possible.

Clean up and refine all of the graphics.

Make sure the audio is exact and clear.

Just be sure to check everything and make sure it is as great as can be and not just good enough. 

 

But that's just my opinion. biggrin.png




#5046147 Small game developer jobs

Posted by DaveTroyer on 24 March 2013 - 12:26 AM

I would also try looking around for small indie or hobby projects to work on so you can meet others and be known to them and others. Its easier to get jobs in "the industry" at an indie level; very few people hop straight into a massive triple-A studio job without busting their buns first.

 

Now, with these smaller jobs, there might not be pay for all of them, but taking some time to build up a portfolio of games you've worked on will always help in the pursuit of either more projects or a studio job. Worst case, keep (or get) a day job to pay the bills and keep a roof over your head and spend some of your free-time working on games. Don't spend all of that free-time though since being a well rounded individual with hobbies and social skills will definitely help. 




#5041989 After year of hard Work: Bible is 60% ready. Feedback appreciate.

Posted by DaveTroyer on 11 March 2013 - 01:55 PM

Hello Arthur and welcome!

 

First I'd like to say your work will be useful when and if you chose to make this project, though I would suggest to be flexible with the design as it may be difficult to implement all of the features when the time comes.

 

Now to address the question of what to do now. My suggestion would be to learn all you can about development and to find your path in the development cycle. Are you an artist with code or with polygons? Do you feel more comfortable writing back stories and plots for the game and its cast of characters or do you like planning out the different ways the players can solve problems and what they can do? Answering these questions will come with experience that you can gain from creating smaller, very simple game projects. You will (hopefully) create some of these projects in your education. 

 

Your approach of playing your game with pen and paper is a great idea that has been used by many successful game developers to get an idea of if their game is even worth pursuing. I think it's very intuitive and brave of you to take that step and taking the chance that your game might not be fun even after investing so much time in its design. But, you should look at your design bible and be willing to cut content if it doesn't fit the game. 

 

Finally, don't try to tackle your 600+ page design document until you know what you're doing. It will take some time for you to gather the skills needed to create your game even with help. If you fail with your dream game, it becomes harder to revisit and see what is wrong. You might lose faith in your abilities and abandon the game all together. If you fail with a simple game, its easier to analyze what went wrong and where. You will have more knowledge and know what needs to be done to remedy those mistakes if they happen again.

 

Best of luck to you and feel free to ask for more feed back in the forums.

We're a very helpful community here. A tad blunt in our responses at times, but we're all here to help one another. biggrin.png




#5040134 What would you make armour out of?

Posted by DaveTroyer on 06 March 2013 - 03:32 PM

Steel-weave armor - This armor is made of thousands of strands of steel that has been tightly woven to give some flexibility and air-flow to the wearer as opposed to traditional plate armors. The armor would look like the musculature of a human being with no skin, but with thin metallic strands in place of muscle fibers.... I just think it would look cool biggrin.png




#5040118 Wants To Make Silent Hill Prologue about Alessa

Posted by DaveTroyer on 06 March 2013 - 02:42 PM

Hi there PosthasteGames!

 

You have an interesting idea, but I have to ask some questions to really get to the meat of it. biggrin.png

 

I'm going to skip some of my initial concerns first, but we'll come back to that.

 

How exactly are you intending your game to be played? I'm going to assume that you want a slower, more dramatic pace since you make reference to adding a sense of psychological horror but does that mean you'll have more cut scenes or narrative driven exploration? Or maybe you'll be going for a more open environment that gives the player the illusion of free-will while making sure that all story aspects end in the same place seamlessly, thus giving the player an unsettled feeling; to feel out of control? 

 

I guess I'm not really seeing much of a game design rather than a story idea, so that's one of the things I would like to see solidified. How is the game played? What kind of mechanics would be a part of the game? What is the core of the game?

 

That being said, I think it has the potential of some fun psychological horror mechanics to be created, but you can't use someone's intellectual property without consent and the Silent Hill IP is a pretty big one, so there is that. mellow.png

 

You might want to work for Konami some day; heck, you might even get there and as a game designer, but that doesn't mean you'll ever get an opportunity to work on that IP. I would seriously suggest that you re-work the ideas you have into your own unique idea or world. For instance, I could picture this game being set in a small prospector town during the 1800's, lending to limited communication technology, the idea that outlaws are responsible for some gruesome murders, tension building up due to limited light sources at night, etc. It would be easy to lean the ideas away from Silent Hill and more in the direction of something original and you wouldn't be limited by ethos and mythology established in that series.

 

tl;dr - Its an interesting idea, but don't use Silent Hill unless you own the IP and chances are they won't like it if you use it. 




#5039439 What do you think of my art?

Posted by DaveTroyer on 05 March 2013 - 05:01 AM

It says the album is private, so I can't really help and critique your work. sad.png




#5039426 Breaking into industry without coding or art skills.

Posted by DaveTroyer on 05 March 2013 - 04:29 AM

Just adding to what I said last.

 

Maybe I was thinking too specific in the terms of core team as in reference to my own experience instead of the experience others have had. 

 

That being said, I can only go off of my own experiences and the same can be said for everyone else. Woland has opened up to share some of his experiences and views with us and I think this entire conversation has turned rather ugly because our experiences or views don't really match.

 

I'm not innocent of being a little jaded just like everyone else, but I think we missed a prime opportunity to have a serious discussion on the different paths into the game industry.




#5039161 Tumbleweeds - A creative challenge with rewards

Posted by DaveTroyer on 04 March 2013 - 02:45 PM

"Tumbleweeds....who knew it would be tumbleweeds?" Were these the last words of the old-timer? His voice broke the silence of the unforgiving desert like a pile of gravel in a blender. This old man would be the savior of man-kind.

 

Hoss Tucker Saves the World - The Trouble with Tumbleweeds

 

Plot/Story/Stuff:

In this 3rd person adventure, you play as the towns infamous old coot Hoss Tucker. Everyone in the tiny town of West, TX has heard the rants and conspiracies of Hoss Tucker and they have dismissed them all; from ducks running the hip-hop industry to the moon landing footage being faked because they left the lens-cap on when they really went.

 

Our game opens with our hero, Hoss Tucker sleeping on his recliner, having a nightmare. He awakes suddenly to the realization that tumbleweeds are planning on taking over the world!

 

Gameplay:

The player will be responsible for making their way around the city and try to convince all of the citizens of the impending doom with the help of his mini-scooter. Some citizens will request favors or items before they'll listen, such as returning items that Hoss or others have borrowed.  When the player is outside of the town, they might get attacked by roaming gangs of tumbleweeds. Though this reinforces what Hoss believes, none of the citizens see it happen. The combat will be basic melee with Hoss doing very bad looking pretend kung-fu and later using weapons like rakes and leaf-blowers.

 

Midway through the game when Hoss has warned all of the citizens, they all gather behind Hoss's back to laugh at him for being a crazy old man and generally dismiss his claims all without knowing Hoss could hear it all. This sets up the next part of the game where Hoss is determined to kill off all of the tumbleweeds to show the other citizens he isn't crazy...this time. By following clues left in the desert, talking to wild animals (one sided dialog), ease dropping on other conversations, and a hilariously brutal torture scene/mini-game involving a lighter and a tumbleweed, Hoss learns that the tumbleweeds are planning to attack during the annual summer festival and they have all gathered around Hoss's tiny mobile home to catch him before he interferes.

 

In the nail-biting conclusion to the game, Hoss learns that it's too late and too many of them. He rides his mini-scooter back into town, this time being chased by viciously scratchy tumbleweeds that are bent on violence and world domination! This will be played out as a survival race with the player getting to attack either side to keep from getting knocked down.

 

The final (?) scene of the game is Hoss entering the town during the festival, covered in minor scratches and collapsing at one of the citizens feet who dismisses him as being crazy just as a single tumbleweed crosses the scene.

 

Credits role.

 

After credits, the same festival scene is shown, then it slowly pulls back to show a huge wave of tumbleweeds approaching the town.

 

Cut to black.

 

----

 

Not an easy idea to play with, but that was fun! Really like the simplicity and mechanics in Servant of the Lords idea though; it made it tough to focus on my idea. biggrin.png




#5039102 Breaking into industry without coding or art skills.

Posted by DaveTroyer on 04 March 2013 - 12:23 PM

but I don't code and don't want to code. I don't draw and don't want to draw. And I am still a counterargument for the whole DaveTroyer's post. What's more, I am not alone. There are more people, who just like me don't have an art or coding background, but are working in the industry in the core development teams, not just as "idea guys". I don't consider myself special in any way, therefore I am sure others could work in the industry without these two particular skills as well.

 

I'm just saying that I've only really worked with small to mid sized studios doing contract work, so I know I haven't met everyone there is to meet, but I guess I just have a hard time seeing how someone without some kind of artistic talent, be it creating assets, code, or story and dialog, can have a significant sway on the direction that a game is going, let alone be a member of a core team.

 

If you don't mind me asking, what is it that you do at your studio or what positions are you talking about? It might help to shed some light on this entire conversation if you could give us some idea of what jobs you're talking about that have some influence on the core development of a game without bringing some previous experience to the table.

 

Are you talking about a producer or director role? Because I haven't seen those handed over to anyone who hasn't worked their way up unless its in a tiny upstart studio with little to no experience that want their friend to be a part of the process. (And those friendships get tested pretty hardcore because the one with no skills thinks they're more important; the whole "idea guy" complex)

 

I hope I'm not upsetting you and I'm not trying to seem argumentative, but I honestly have no idea what kind of positions you could be talking about.




#5038139 Breaking into industry without coding or art skills.

Posted by DaveTroyer on 01 March 2013 - 02:52 PM

Guess I'll chime in here just for the sake of continuing the discussion. biggrin.png

 

First off, I should mention my experience.

 

I have a BAS focusing on Digital Entertainment and Game Design and a minor in Art History and Theory with a career focus on character/monster creating, game writing, production, as well as expertise in 2d and 3d content creation, conceptual design and illustration, and consultation in game mechanic/concept creation. I've only worked as a contractor for small to mid sized studios and recently as a founder of a small indie studio called Pixel Jargon. I've worked as an artist in various other fields fairly consistently for the last 10 years. I'm 29 now. 

 

Personally, I've never met anyone working in the actual meat of game development that can't at least do some rapid visualization or some minimal coding to help show their ideas and have some actual chops to back their position. Maybe in the gilded towers of AAA development there are some guys that got a job there with an MBA and no experience with games aside from playing with other peoples money, but when it comes to the trenches of game development, I really haven't seen people that have their main skill as "idea guy".

 

I also haven't seen decision making privileges given to the guy that only makes the music, or to a tester, or to anyone who isn't a significant lead, content creator, or some one seriously invested in the project with their money, time, and skills.

 

So what I want to know is how exactly can someone with no experience in the actual creation of the game, like HR or Legal, be a part of the game design process? I understand they have an impact on the actual development such as HR hiring the right people for the job and Legal covering the butts of the developers in case they don't remove a naughty animation, but they have no real control at all over the design aspect of the game the same as the person who makes awkward small talk at the coffee shop when they find out you make games and want you to make their dreams for them (and give the stranger money for it!).

 

I guess my real problem is that in those positions, since there is, in my opinion, no real way of influencing the game production or development, why even bother being a part of a dangerously volatile work environment that sees studio closures everyday when you could be someplace else that's more stable, doing the exact same thing?

 

I would venture to say that you would want to be at least close to the development; to feel like part of the team and help them create games but whats the fun in that? Where is the appeal in loving someone but getting told they just think of you as a friend?

 

I don't know man, I guess I don't see the point. I've read it hundreds of times here on gamedev.net that its not that tough to learn to program. To me, I would think it's easier to learn to program or draw than it is to give up on a dream for me, and that's what it would be like. If you dream of creating games but don't have the skills needed, the choice to not get those skills and just be near those who do is so much worse. I see this as advocating putting ones self in the friend-zone of game development.

...

Don't friend-zone yourself with game development; learn a useful skill instead of crossing your fingers and hoping that your ideas will be heard one day.

 

But that's just my opinion.




#5038108 political correctness and captured prisoners in rpg

Posted by DaveTroyer on 01 March 2013 - 01:26 PM

Wow, that seems to be an ambitious game!

 

One thing to consider is how exactly those acts will be depicted in the game. You mention that it's a FPS/RPG/SIM so that would make me assume that the funnier actions aren't really a part of it and I would also assume that you're looking a 3D assets instead of facing sprites like old FPS games like DOOM and Wolfenstien.

 

So with those 2 assumptions down, I'd say that this game wouldn't be getting anything less than a mature rating purely based off the subject matter; a "teen" rating just isn't going to happen. mellow.png Violent content, mature themes, and torture can all bump up their rating by themselves. If their are any visual representations of those acts, then you might get an "AO" or "adults only" rating. AO ratings don't necessarily mean that it has nudity or even sexual scenes, but something that would be considered difficult subject matter for the average folk to deal with. Heck, you could create a brilliant non-violent thriller that could get an AO rating based off the themes presented in the game coupled with fear mechanics and dialogue.

 

But if I were creating this game, I'd lean away from realism in the graphics so that "graphic violence" could turn into "cartoon violence". Sure, mature themes and even the rape would still be pretty damn horrific even when taking the edge off of it with more friendly graphics, but some times you gotta look at what you really need to achieve your game goals.

 

When you think about it though, if you don't have a reproduction system just yet, then you don't need the rape/mate/whatever sexual in the game. If you do want to build in a breeding system, maybe make it so you have to bring those you captured back to your tribes camp and after a while they become members of tribe, thus making them a potential willing mate or even opening side quests needed to win the affections of potential mates? 

 

I dunno man, it's a delicate subject to say the least, but like I said, I personally would try to find some work-a-rounds, maybe cut some stuff, and even lessen the graphic impact with stylized design. One thing about stylized graphics is that critics might think your trying to make a game for kids with such mature themes, but that'll just make it free advertising.biggrin.png

 

Anyway, good luck sir.




#5037326 Help creating the ground for a 2D game

Posted by DaveTroyer on 27 February 2013 - 03:01 PM

In the Rayman and Dust images, those are just ground tiles that have been slanted at an angle to match the incline. The breaks are covered with foreground and background objects in both examples.

 

The Dust image has some opacity to help with the blending of these tiles.

 

In the Muramasa image, the backgrounds are all hand painted from what I gathered from my 2 minutes of 

 

In the Muramasa, its seems that the ground textures/sprites are larger, intentionally placed assets, meaning that there is a lot of pre-planning involved.

 

Rayman seems to use a similar method for ground tiling as Dust, but it has much more detail.  

 

So yeah, if you're looking to create inclines in your game, it really all depends on the style of your game. Is there a sense of depth to your level like in the examples above? 

 

I don't know if there is much more advice I can give. If you're asking for actual help as in someone to create these sprites for you, then you need to go to the classifieds section for that.

 

Hope I was some help.




#5037312 what do i need to know?

Posted by DaveTroyer on 27 February 2013 - 02:31 PM

I have used many of them. unity3d, blender, photoshop and such... none of them really met my needs. I am not sure which one to move to next, but when I get home to my desktop I thought of giving Unreal Development Kit and Cry Engine 3 a try. they are free, but you have to pay to publish things... this shouldn't be a problem though, if your just practicing.

 

Hope I was helpful

 


**and yes, blender is better than unity3d, in my opinion at least

 

Unity3d, UDK, and CryEngine 3 are game engines and not in the same category as programs as 3dsMax, Maya, Blender, or any Adobe stuff really. They can be useful as a rendering tool for 3D assets, but I don't think they need to be mentioned in this conversation at all.  

 

 

 

thanks alot i will try all of thse softwares, by the way my other question do i need eny skills with drawing, cause at the moment i have no skill with painting, drawing and things,

but if it is needed for my dream job i will work really hard to learn how to paint,

but just want 2 know if i need before i dedicate hours of it. smile.png enyway thanks everyone that has helped.

In my experience, painting is a novelty that's never really necessary. I only ever did it maybe twice; it just takes too long to be useful. Drawing with pen and pencil (and sometimes marker, but those things are really expensive) is a far more useful skill, especially if you're good at sketching out the basics of your concept quickly (we always called it "rapid sketching"--I don't know if that's a widely used term or something unique to my professor). Getting good at that comes down to practice. A lot of it. As in never be without a pen/pencil and paper.

 

If you absolutely can't draw, keep in mind that 3D modeling is a completely different skill--you can be great at one and terrible at the other. I've known a lot of people who used modeling software exclusively, and a few who never even needed to touch a computer to get their point across. As long as the underlying idea is good, it can be expressed effectively in any number of ways; you just have to find the one that works for you.

 

Granted, my experience comes from an architecture degree, but I'm sure some of that transfers to game art (at least in terms of environments and basic design principles).

 

I agree, but learning the basics about anatomy and building up skills with a pen will really help. 

 

Considering the jobs of 3D generalists or artists in the game industry are pretty demanding, I've seen folks with okay portfolios and a couple years of experience get over-looked because they aren't as great as the studio wants.

 

That's something that you'll need to strive for to get that consistent, salaried job as a character artist at a studio; to be as great as you can be.

Learn everything you can about the human body, learn everything you can about perspective, line, and shadow, and practice your heart out with a sketch pad and a pencil. Find styles you like and can emulate all while trying to maintain basic art principles and a believable anatomy for what your drawing.

 

And yeah, what thade wrote will help you get you going, but it still depends on you.

 

It's not an easy path that you're choosing, but its pretty freaking fun! 

 

Good luck!




#5037289 sprite vs 3d models?

Posted by DaveTroyer on 27 February 2013 - 02:01 PM

I gotta agree with Prinz; prototyping small aspects of your game over time will be really beneficial to the development of you game, and ultimately, you as a programmer.

 

But now to the question you asked. biggrin.png 

 

You might wanna check out a game called "Don't Starve", its a pretty epic game with 2d sprite work, a massive world to explore that used 3d for land sets, and is a bit of an action/survival game. I think this style of 2d/3d works beautifully and might be what you were thinking? Worse case, taking a look at this game can give you some ideas, right?

 

Now if you start leaning toward 3d, (which personally takes me less time than hand animating sprites) there are some things I would suggest.

 

In your post, you said 3d ages poorly. Well, I think it really depends on certain factors. Take the 3d models and style from Metal Gear Solid on the PS1. The characters are well done and stylized. They look better than some other models of the time (and in my opinion, better than some stuff today) because they have an established style. Just the same as the characters in Legend of Zelda all adhere to a style, thus creating a aesthetic that is pleasing to the viewers eye. Then look at games like Fall-Out 1 and compare it to Fall-Out 3. Fall-Out 1 has a consistent art style; not the fanciest or the most detailed, but its easy to get enveloped into that world where as the art for Fall-Out 3 is trying to be realistic, in your face, and detailed. When you have high detail on a characters armor, but the low detail on the poster their standing next to, it starts to take you out of the world. To me, the immersion was broken in Fall-Out 3 because of the whole uncanny valley thing.mellow.png

 

So yeah. my suggestion would be to try to make all the art consistent through out the entire game and also don't strive for super-realistic shtuff and you'll do fine with whichever path you chose. It'll take some years to learn, but you knew that already.

 

Best of luck!

-Dave




#5036499 Help me with claws [3D]

Posted by DaveTroyer on 25 February 2013 - 05:01 PM

I'm a little sick and grouchy, so I'm sorry if I come off as harsh in this post; I'm just trying to help. biggrin.png

 

I like the video, but I think it should be clarified that the model is (very) high-poly and not suitable for in-game. The reason I mention this is because well, we're on a game development board and its better to reinforce good habits early as opposed to fixing time consuming and potentially bad habits later.

 

One thing that I noticed in the original post was some wasted geometry on your character. Granted, it really depends on what platform you're developing the game for and what kind of system requirements you're looking at, but it's easier to create a low-poly model with strong geometry that you can add detail to later than it is to cut down a model with too many polygons once you find out it lags a high-end machine. 

 

Anyway, another thing you might consider doing for the claw is to get a general idea of the poly's you'll be working with on the arm as it comes down to the wrist. If there is too much or uneven geometry, you'll end up having a whole ton of polygons on the hands alone or even quads and tris mixing together with other, even higher vertex polygons, which will make skinning and rigging a serious pain and make the model pretty much unusable.

 

So my advice would be to plan a couple steps ahead; nothing too complex, but with more practice, you'll start seeing how things can get goofed up if you take different steps.

 

Oh and to answer the question, claws/hands/anything at the end of an arm or leg will take practice to get right and I would take a look around the web for tutorials  on hands, though most of them use something like 1k for a single hand, and to me that's just a waste.

 

Good luck!






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