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Member Since 06 Nov 2012
Offline Last Active Yesterday, 04:17 AM

Posts I've Made

In Topic: Do you ever have to worry about your stories being stolen?

19 October 2016 - 05:36 AM

Not to mention that an idea is just an idea, and means absolutely nothing. It is your execution, your writing itself, that will determine a stories success or failure. Games are the same. Really anything is the same. Good ideas with poor execution will fall a lot faster then bad ideas with good execution.


Much further into development you can be worried that someone might steal your idea, but again it's a very very VERY small possibility. Backup your work on external drives and online. Keep a record of the work you do. That'll  cover you for the most part.


And to me, I wouldn't care even if someone did steal my story (or game). Sure, they're now making money off of it. But it would mean my game had what it takes, and if that's true I can make many more - because the one stealing it cannot replicate you, and you are what made that story or game. Though I have an odd perspective on things, so I doubt saying that will help you.

In Topic: Couple of questions for game art designers/animators

19 October 2016 - 05:13 AM

@Scouting Ninja


Thanks a ton for all your help :) I really appreciate it! You've cleared up a lot of things so I can prepare for the future now. I think I'll remove the idea of hiring an artist and sound designer and look for a mix of store assets/my own simple work/hiring temporarily for some niche jobs. I won't hire an artist as a hobbyist, but I'll see if I can look for a sound designer. Otherwise I'll pay for them temporarily as well.

In Topic: Couple of questions for game art designers/animators

14 October 2016 - 07:19 PM

You aren't listening, or you're in denial, or you're twisting the definition of financial "risks." Yes, the artists are not investing money - they're investing their time and talent. And "only" being paid "the revenue on the games they see through to completion" means they'll probably never receive a dime. That IS risk. One's time and talent is worth money. Pay the man (to quote Judge Milian).


Thanks. I just wasn't understanding. And I didn't mean they'd only be payed revenue on games they see through to completion, I phrased it wrong. What I meant is that they can't come on board, do a couple of things and then claim full revenue for basically nothing. That's what I'm worried about. I'm just not at the stage where I've fully developed an iron-clad business plan, so I'd iterate exactly how that works there when I am. I just need certain rules down to cover myself in case things go sideways.


I see what you mean on the time investment though, I wasn't considering it in that way. That leads me to some trouble since I can't realistically expect any sort of beginning artist to devote their time to me for free, when they can equally build up their experience and portfolio in safe ways while earning money. I assume the sound designer will work in the same way. Unlike an ideas person like me, I can assume they'll always be in heavy demand.


So then, let's say these are possible plans of action:


Plan A. Bring on board a beginner artist and sound designer. Offer them a suitable wage per piece of art for their experience, and also offer them even share revenues of the game and business. If they take the share revenues for the game, their wage will be lowered by a respective amount? ​I'm really not sure here. I think this just complicates things, and is really just a bad plan in general. It might be best to give up on this idea entirely.


Plan B. Advertise for hobbyist artist/sound designers for each individual project (keeping on board those who want to work on the next project). They'll hold part of the game revenue, but won't be involved in the business.


Plan C. Outsource as efficiently as possible. According to Scouting Ninja, my money is fairly okay to create my first game with, as long as I'm smart with it.




So your art budget will be about $500, you can get a lot done with that if you know where to look.


Can you give me any advice besides hiring a foreigner? I appreciate all the help :)

In Topic: Stronger versions of enemies?

14 October 2016 - 08:22 AM

There are a lot of creative ways to increase the difficulty of a creature in a positive way. Only increasing their stats simply makes things harder, not more interesting or fun. I don't think a game should ever be about being harder solely for the sake of it. Dark Souls, for example, was not meant to be such a brutal game. It simply came out that way as a product of the design.


As Scouting Ninja mentioned, diablo gives the stronger enemies special abilities. In Diablo 3, these abilities were randomised. They were all part of a central pool and when an elite monster spawned it would select a number of abilities from that pool that you had to deal with.


Another way to increase difficulty is to improve the enemies AI.


Or you might change its role from 'stronger enemy' to 'group commander'. The elite monster of a pack of goblins is able to command those goblins as an army, rather then having them fight you haphazardly.


Or even change their fighting style. A goblin may wield a small spear to strike at its target. An elite goblin may wield a large spear, using it expertly to attack from a far range, perhaps incorporating more attack variations to mess with the players rhythm.


There are endless possibilities to make an enemy harder. I always notice when a game simply increases an enemies stats and pretends the enemy is now 'harder', and I always hate it. Trust me, it is the perfect example of anti-fun and lazy design. Do not do it.

In Topic: Couple of questions for game art designers/animators

14 October 2016 - 07:57 AM

Okay thanks for the info guys. First, my budget will probably be around $1-2 thousand dollars, so obviously it is a very tiny budget - but I'll be starting with very small games. I won't be making anything amazing here, that's for sure.


I should also mention that my first game will be a Shoot 'em up, so think of that rather then an isometric game. I'm sure both the 3D modelling and animation will be much simpler for that type of game.




Also, you are asking the artist to take on the same risk as you as entrepreneur do, but do they also get the same leverage over the project? Are they partners, so to speak, able to influence what project you are working on, what platforms you release on, and so on?


The artist and sound designer I bring on board will be taking no risks as an entrepreneur.  They won't be paying for anything, and I'll be doing all of the time investment for everything except their own work (art and sound), unless they want to take on some extra work (but it is optional). They can leave the business and games at any time, but will only be paid the revenue on the games they see through to completion (I'll give them a smaller revenue share if they do a lot of work on a game they leave).


This means they can focus entirely on improving their work, possibly gain money without ever having the possibility of losing it, while at the same time expanding their portfolio with games that will (hopefully) be seen as well designed. If I was just starting out as an artist or sound designer, I think that would be very enticing. But I don't really understand the industry, which is why I came here in the first person. I could be wrong


So I think my best plan of action is to have multiple plans of action. These are the three I've come up with for now:


1. Bring on board a beginning artist and sound designer, and slowly build up our experience together as we work on games that start off small in scope, and grow as we do. We'll split the game revenue as evenly as possible, and they'll have shares of the business if they're interested.


Backup Plan 1. If I fail to locate an artist, sound designer or both, I'll advertise for hobbyist artist/sound designers for each individual project (keeping on board those who want to work on the next project). They'll hold part of the game revenue, but won't be involved in the business.


Backup Plan 2. If I fail to locate the necessary hobbyists, I'll outsource as efficiently as I can with my limited budget.


But I think Scouting Ninja brought up a valid point in his statement. So @Scouting Ninja


If I'm understanding correctly, students who are just starting out don't know how to apply their craft they've learned. So if I brought on such a student, and had him doing all of the artists work, he'd need to be told exactly what needs to be done, rather then being able to figure it out on his own? So he's learnt how to 3D model and animate, but he doesn't fully understand the mechanics and reasoning behind what he's learnt? Am I understanding this right?