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dgaf

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  1. I think it's a great idea to have people willing to work together to add material to their portfolio. If it ends up a good game, it could even be entered into the IGF. A win for design or innovation is a great thing to add to the portfolio and there is even the possibility of having your game published for winning. I believe that is what happened to Savage a couple years ago (or was it last year?). I'm not sure I see the point of an Art Director as a non-artistic manager of the art. If the art team is given the Game Design Document, I would assume that they would know where to go from that and from the conceptual designs. It seems like a typical producer role is being broken into a number of different roles with the same job.
  2. These roles have titles. The "lead programmer" or "program manager" is usually referred to as the Technical Director. The Art Director is the "lead artist". I assume the Xenallure is a non-commercial/hobbyist company? There's no way that one person can act as the Team Manager (Producer), Lead Designer, Head Writer, and Art Coordinator (Art Director) on a serious project without half-assing a good deal of that along the way.
  3. Somewhere between "aliens" and "cheese" I scratched my eyes out.
  4. I don't have time to read that thread right now (though I will try to in time), but it seems to me that if you allow the computer to create these random, "generic" quests, the player will feel as though they are on meaningless, "generic" quests. What gives meaning to a story (and to quests) is a sense of something happening. Killing 100 random enemies, saving 30 random people, and destroying 4 random buildings is meaningless. But killing one meaningful monster in order to rescue one meaningful person will give a meaningful reward to a player--who deserve something meaningful for their time and money. It's one thing to rely on these sporadically as a gameplay mechanic, but it is not a substitute for good, solid writing. Maybe the problem is that Westerners (in general) are objective-oriented people. We do something in order to reap a reward. Some Eastern religions preach that the substance is in the journey. If I kill 30 "[typical RPG adjective] rats" in a cave so that I can receive a [insert typical RPG object reward] and as I leave the cave I see those rats respawn, the journey that I undertook will be meaningless. I have become a slave to the reward and the journey is an obstacle. In reality, the journey (playing the game, not receiving an item reward) should be WHY we play the game not what we have to overcome to feel a sense of value.
  5. During one of his weapons development experiments, Hein Rynes needed human samples to test the effects of his work. Because all of the employees of the militia HQ testing facility regularly receive experimental medicines and substances, Hein needed an "outside subject" whose status could be controlled. This subject (unknowingly to her) was his wife. Because the weapons system was developed to destroy human tissue, a cure would be needed. The human tissue sample (from his wife) was used not only to test the effects of the weapon but also to be used to develop a cure. Unfortunately, the "cure" was only viable in that specific tissue sample. So the subject's genetical makeup became a piece of the puzzle for that cure. When the weapons system was employed (prematurely) in town to kill all of the people who were potentially the one that the oracles and prophets foresaw (via omens), only those receivers of the hereditary makeup (the son and daughter of the engineer and test subject) survived. Brock Rynes was singled out to become the hero that the omens prophecized.
  6. Didn't Viewtiful Joe do this? I never bothered to play it because the character designs were ridiculous, but I believe the major gameplay gimmicks--oops, "mechanics"--revolved around slowing down and speeding up time.
  7. Assualt? Is your narrator from Brooklyn?
  8. What made them fun? Low standards.
  9. Well since you are intent on marblizing your quote, you may want to check the grammar: "It's been known to be told..." doesn't sound correct and I would recommend using a semicolon (;) instead of a comma before "let me tell you mine". If you wanted to go the classic mythology route (or perhaps you could call it "borrowing a popular plot point from Christianity"), you could say that the soldiers were looking for "the Child/the One/the Redeemer (of some kind)". During the boy's adolescence, the attack on the town was to find someone foretold to be a great figure in the future of [insert place]. That "Child" had a destiny. And that Child was Brock Rynes and this was the beginning of his hero's journey...
  10. Before you journey out into the writer's abyss (is that a real place?), I would recommend that you spend some time reading a few mythology books. You can't go wrong with Joseph Campbell's "Hero with a Thousand Faces". I think reading that book (or even skimming it) would give you a better place to begin creating your own character's journey...and for a deeper universe to draw from, some study of his other books (especially the "Masks of the Gods") as well as a brief study of the various (popular) world religions would also give you a good place to begin developing deeper, richer, and better stories as well as the worlds in which to tell them.
  11. Why don't you name the main character's father "Jim Rynes". That way when the militia suits up in their CES suits, you can call their armored (breathing apparatus) helmets the "jimmy hat". It's not safe out there without protection. Sorry, I've had a long day...
  12. 1. Kid loses parents/family. 2. Goes after those responsible. 3. Plot twist: father is a part of those responsible. That formula has been around since stories were first told. If you want to go that route, you will have to be a great storyteller or your story will be lost among the other cliches. It seems as though you are trying to add dramatic moments and twists to your story (which is fine), but you're using the same elements and twists as many, many puplar stories. What will make this one better (and different) from those others? I would recommend developing some unique elements to your story so that it's not this simple, cliche sequence. The audience will pick this up as soon as you say "your high-clearance engineer dad has vanished. I think the 'militia' (with high-tech equipment made by...an engineer) may have been responsible. Go investigate"... And the "Luke, I am your father" plot point has got to go (or be changed).
  13. I think his comment (which is how I read it) was under the assumption that the character was going to stay the same or get better over the course of the game.
  14. It really doesn't sound like you have anything thusfar. The [u]background[/u] information on him is above and beyond cliche. It's almost more of a parody of a parody of a FPS. Don't attempt to create a character that is everything (as already mentioned, masters don't grow). Pick one idea that your character will represent. Think mythologically. Is your character a "savior" (Jesus Christ), a "redeemer" (Siddhartha Gautama of the Sakyas, aka Buddha), a "war hero" (Odysseus from Homer's "The Odyssey"), or even slightly less efficacious in worldy terms? Perhaps he is a man consumed with vengeance for some act. Perhaps he is "just a man" compelled to do something above and beyond that which could be expected from "just a man". A good start for many game characters is to find an idea like one mentioned above that your character will symbolize. Then take a look at Joseph Campbell's "journey of the hero" (better yet, read his book "The Hero With a Thousand Faces") and begins developing a character from there. If you want it to be even more meaningful (for you to write), try to narrow down the character traits that you most admire and begin there.
  15. Seeing as I have played perhaps 3 of all the above mentioned titles, I have some work to do. But I must add a favorite of mine which I think has done a far better job of rewarding players and motivating them to explore than any game I have come across: Diablo 2.