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About Morkai1

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  1. Morkai1

    What to do when finished (legal stuff)

    Oops, come to think of it, forget the royalties bit. I think that applies to trademarks. Or I could be full of ****.
  2. Morkai1

    What to do when finished (legal stuff)

    I'd check that copyright website, people had said that (c)'s aren't too hard to obtain. Patents are tight-assed because you're claiming that something is revolutionary. Copyrights are much more exclusive to the IP's context. You can't copyright the name "Joe," but you CAN copyright "Joe" in the context of "he's a big monkey in the movie script 'mighty joe young'" so that someone can't go make "Mighty Jim Young" after seeing your movie without assessing you royalty fees for the concept. IP (intellectual property) sparks debates often, the thing most people in the game industry are worried about is having their IP stolen by someone who can pay more lawyers to defend than the victim can to attack. I know when you submit concepts to publishers ranging from a character description to an entire game pitch, you have to basically sign away your IP rights on that material in case they were working on something similar, so that when you get turned down and see their game come out 3 months later, you can't go sueing them.
  3. I take a drive and listen to music. I've done most of my world-developing on my commutes to and from work, I just write down what I thuoght up when I get to my destination. Writer's block just needs relaxation and time to work around. Take the focus off of trying to figure out one aspect of the story, or just stop thinking about the story entirely for a bit. Most of the time, if I'm stuck in story development or interconnection, I'll skip to a different element of the story and start working on that. Half the time I think up something that helps me explain alternate concepts and unrelated elements. Otherwise I'd suggest talking it out in your head. Come up with a couple (this is key: never zone in on your first idea in case something better could come along) broad reasons "why" something happens, and then start to invent details specific to your characters or world that fill in the broad pattern. And never be afraid to change it, in part or in whole. Often times all aspects of art can suffer from the creator getting too wrapped up in what THEY see to realize that they've lost the general public along the way and the vision never becomes shared.
  4. Morkai1

    a racing track in 3dmax

    As far as I know, you can't just call a .3ds object from c or cpp, usually exporters for any game engine modify or compile the model and its various layers of texture/IK/animation sequences and then the code calls on that object with various modifiers (initial state, allowable animation sequences, etc) If you did manage, that'd be the easiest game to build skins for ever to hit the scene :)
  5. Morkai1

    No HUD in a Fighting game ?

    Depending on your control interface, this question strikes me as similar to Silent Hill's approach: they have the controller start to vibrate mimicking the heartbeat of the character, and it gets faster and harder as you get closer to death.
  6. Morkai1

    Perhaps my coloring is improving

    Lockepick pretty much nailed it. Your pegacorns come off looking like embossed stickers as compared to 3 dimensional objects, and I think it's mostly stemming from your application of one shading pattern to the whole image. You went through with a white fuzzy brush and painted a line (same fixed width) of highlight a little removed from the left-most edge of every contour, and a couple on the tail. The form of the pegacorn doesn't really interact with itself...light hits an image like water. It splashes up on other surfaces after hitting original locations, it wraps around round edges to a degree, soaks in to thick fabric and fur, and stands more concentrated on hard, smooth, non-porous surfaces. Two more points: 1: the line width really is killing the attempted form you're going for with your lighting. If the program you're using can't do various line-width, that's just always going to be a problem. 2: the textures and patterns you're using (like the blue crystal pattern or the starry black) flatten the image all over again...you'd need to deform the pattern to make it fit the perceived form of the pegacorn, otherwise it looks like its on a flat level underneath the rest of the image. I certainly encourage you to keep it up though, you just pick this stuff up over time...and depending on your target look, any or all of this could be negligible. Right now it's got a flattened, cartoony look to it.
  7. Morkai1

    Need direction on where to go

    If you're looking at going into programming (if its for games or not) a lot of people will look for physics/math backgrounds...check the requirements and plusses on the job openings here on gamedev. Most of the work force, unless you're looking at something very specific, just wants to see that you CAN graduate from college. WHICH college you graduated from seems to play more on who'll accept you for grad school. I do need to say, there's an exception to every rule, so I won't say things always work this way. Now, obviously, if you're looking to build code for Blizzard or EA, and you got your BFA with an emphasis on sculpting, they're going to pass that over. Portfolios speak volumes for art-related fields...they want to see what you can produce, not so much where you came from. If you can include some measure of how quickly you work, that helps...like thumbnail sketches for 2d art, speed-modelling results for 3d, etc. And make it diverse, this opens you up to more job opportunities.
  8. Morkai1

    Ok, so I'm a new artist... what should I get?

    A couple notes: Render quality depends on what engine you're exporting the file to. When you rendered through, you were watching a preview of the file rendered to video, not to a game. Each engine will probably have some kind of command-line or script conversion tool to turn your model/level into it's proprietary format. So the same model loaded into Source both Source and Unigine will look different in each. Modelling: The building of the actual mesh. This is where all your digital "sculpting" takes place. Usually the character/item is built in a neutral pose that allows for easy visibility and boning(which I'll consider an animation aspect). Animation: Animation is usually handled in games by calling animation files, short sequences you build with your animation package. Recently, this has involved creating "bones" within a mesh that act as local deforming tools. You'll paint "weight" onto the mesh as it pertains to each individual bone (telling each polygon which bone it should look to for deformation commands), and also establish limits for bone movement (for example, your knee cannot swing out past 180 degrees in real life, so people tend to limit the lower leg bone to that kind of movement arc if they're animating a humanoid model). Then, with the weight painted, you set up a starting position for the specific animation sequence, pose the model at various key frames throughout the sequence, and then tweak the transitionary frames until you can play the sequence through and it looks believable. This directly parallels 2d animation. You have someone who draws key frames for animation, and lesser drones who will fill in the spaces between the key frames so that it all flows together. This sequence can be anywhere from a 2-frame "lie there dead" sequence that loops whenever a model has been killed, and basically plays them lying flat on the ground motionless; to a 20-frame walk cycle that, when looked at by itself, has your character taking a step with the left foot and a step with the right, but when looped (the programmer would tell the engine "whenever the player is walking forward, keep playing this animation sequence") your character just continuously keeps strolling; all the way to a 20-minute cut-scene sequence with dodging, running, firing guns, waving to the camera..the works. There's also texturing to consider, but that didn't come up in discussion yet. Maps an Terrain Careful with modelling terrain/maps, a lot of engines use brush-based maps (3d objects with individual face textures) instead of an export from a 3d-modelling program, so you would use mapping software such as quark, worldbuilder, hammer, unrealed, etc. With the example of Hammer (Valve's map tool) you might model an entity--lets say a nice detailed streetlamp--in your modelling software and then export it TO hammer as an item. Then you would drop that entity into the map...but you wouldn't model the sidewalk and buildings in your modelling software..those would be built out of brushes in Hammer. Poly Count A quality "low poly" model can range from 50 polygons to 5000, it's always relative to the rendering environment. A 3d RTS wouldn't need 5k polys on a tank model unless there was some reason the player would need to get down to human eye level and look at fine details on the tank. If you're aiming to be a decent low-poly modeller, and are attempting human character models, I'd set an initial goal to build a good-looking human in 2000 polys (usually this is counted in 3-sided polygons, but modellers aim for 4-sided as they usually deform and animate cleaner). Then, when you can do that, try to shave it down to 1000. Low-poly modelling is just about using as few polygons while still maintaining a target level of detail. So there's a crash course in some various aspects of how 3d comes together. With as detailed and impressive as graphics are trying to be these days, you can see why a production line would assign modelling to one person, animation to another, and maps to a 3rd (and probably even 2d and texture work to a 4th, but a talented artist can probably texture their own model) Enjoy!
  9. Morkai1

    How to "finish" a freeform game

    I think other people touched on this general concept, but the first game that comes to mind for me is (ha!) Animal Crossing. You were given free-form gameplay, but large "reminder" goals in the background. If you eventually paid off your largest house debt, you had essentially conquered the game's hardest challenge, and you were rewarded, and had a sense of accomplishment. However, you were still allowed to keep playing as much as you wanted. So I'm thinking if you create a couple grandiose challenges or goals among varied playstyle choices (become the king, or become the Master of Theives, or tame and own a dragon, etc etc) while letting the player continue on past those goals, they feel like the achieved the hardest challenge in a linear group, and can either switch veins and try up to another of the list of "hardest" or just play around with their newfound power and fame. Kind of like "well, I did it, I now rule the country. Now I just want to head back to that one crazy town and explore it some more" With any OEG, your only real determining factor for turning it off for good is boredom. From MMO's to Morrowind, on and on.
  10. Morkai1

    Replay as extended play

    Something I've noticed on several occasions (though it only applies to certain game styles) is the unlocking of the untrodden paths post-completion. For example, at 5 different junctures in gameplay, you chose to take side A as opposed to B, or mission 12 over mission 14 (because it paid more). Armored Core for example, always let you take the missions you missed out on once you reached the "end point." I believe they even acknowledged your completion, but left them around as "someone's still looking for this to be completed, want to make some extra cash?" kind of stuff. So that's one option, but as you can see, it's only really viable if you work off a list of possible levels for the player.
  11. Morkai1

    MMO's and the disillusioned gamer

    Quote:Original post by DigitalChaos wow, that did nail every problem with current mmo's. but here's the thing, you go and fix all those problems and now what? you may just find yourself with a list of other problems to fix. That's how you can tell between the determined and the defeatist. There are always problems to fix, but I'd much rather we continue to try and fix them as opposed to giving up now since it'll never stop. If we push on, games will just keep getting better.
  12. Morkai1

    Dictionary creation software?

    Well, if you're going to have to input the data manually, just create two columns in a spreadsheet, one with the word and the other with the definition, and then sort all data by the first column. That'd organize it all at any rate.
  13. Morkai1

    Software Idea for Video Game Industry

    What you're describing sounds like one of two possibilities. Either a) a template, or b) a randomizer. Either doesn't sound like very marketable material. I can go download templates for design docs already, and randomizing various concept segments into a cohesive game idea sounds rather lazy (not to mention ultimately confusing). I guess your description is just a little lacking. What exactly would the assistant software DO for the user? You said a word processor at heart, so are you talking about something similar to Mad Libs games? (ask for 3 nouns, 2 verbs, and 4 adjectives, and it fills the blanks in a pre-made scenario in with your choices). It certainly doesn't sound revolutionary or useful as it stands now, but I'm sure you've only given a rudimentary explanation of the concept.
  14. I certainly see the NWN parallel, but what I see as a major difference is the persistence aspect. There's an inherent difference between saving a game and turning it off, and things happening while you're away. The way I see it running, you could log on at one point in your day, levelling your character and completing tasks alongside 20 other people, sometimes grouping sometimes solo. Later that evening, you log back in and take jobs that only your class is offered, or that are based on your particular interaction with npc's earlier that day. Maybe I'm just trying to find a way to make the MMO experience a little more exclusive. There have been attempts at simply trying to broaden the skill base so as to reduce copycat density, but you still end up with your playerbase filling up with the "best possible skillset" sheets. My thoughts could simply be heading towards a "co-op experience for 50 people" idea. I'd just like to see some kind of meaning to player action in an rpg setting. If I have [Farmer John's Father's Burning Axe], no one else should have that, because I found him his long-lost beer stein and I got the credit. Likewise, while I was getting that axe, Player 34 went and defeated a local crime boss in the alleys of Mainport and was rewarded 4000g by the royal family. I should never get the chance to have won that same pot. I'm sure this all borders well on the conceptual and argumentative, and less on a specific game design. Just thoughts, at any rate.
  15. Morkai1

    Calling all/any concept artists?

    I'm going to suggest that perhaps you're not getting much input or interest from CA's because you've provided far too open-ended of a task for them. I or any other artist can just as easily design "evil" in our free time, especially if it's not a paid gig. I would suggest trying to develop your setting a bit more before looking for someone to visually realize it for you. Take any aspect of ideas you've had for the monsters and add that to the specifications. For example, what are the four themes they serve, what kind of environment are they in, what's the overall theme of the game world? (While artistic interpretation and expression is nice, if all the monsters don't conform in some way to an over-arching style, your game world won't make sense) As it stands you have a basic concept that you've shared, and would like other people to fill it in entirely for you. You normally see- Designer: "I need you to create a bad guy for me. He's a grizzled army veteran who lost both arms in combat, and replaced them with robotic components. Later he was bitten by a werewolf-vampire, and has episodic bouts of vertigo. If you could come up with a couple different takes on it and have them ready to present on Friday, that'd be great" Artist:"Ok, first I'll try giving him an undead look, then I'll try making him look more feral and bulky with super-red eyes, and ....(etc)" What you don't normally see- Designer: "Our game takes place under the sea. I need you to create all the enemies for the game. Do whatever." Artist:"..." Obviously, your imagination can take off running, but there's no shared vision for everyone to work off of.
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