• Announcements

    • khawk

      Download the Game Design and Indie Game Marketing Freebook   07/19/17

      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.


  • Content count

  • Joined

  • Last visited

Community Reputation

122 Neutral

About Santarr

  • Rank
  1. Just a few quick ideas that came up, what if instead of death one would halt progress for that level until it is reloaded, fail too many times within a level and the possibility to continue is diminished each time. So for a simple mario clone, fail too many times within a level and the door to the next one or a bonus level is closed to you, only other possibility is reset and try again. It would lend itself to increasing the skills needed for higher levels easily and/or for bonus material. (Level 1, 10 tries within, else door closed) (level 10, 5 tries within, else door closed) (level 20, 3 tries within, else door closed) (level 30, 5 tries within, else door closed) (level 40, 1 tries within, else door closed) Next to this one could make it so that one has to master certain parts to unlock a new group. It would mean if a player gets stuck they can go to the part/level select and play within the range of parts open, but need to master a set (90%) before continuing. (inside mmo's this is done via gear level, or key items to unlock a new range, no permanent death, you're just stuck at a certain group.) Or on death for for example platform games reverse the level and play through as a ghost to get to your body to reconnect at that point. J. Rosenboom ing.
  2. It depends on how you want the player to see and interact with the world, is it from a god like position akin to say populous as one of the gods. As a chosen commander and so turn it more into a RTS. As a skilled individual (FPS or RPG). It really just depends on what you like to have as a level of interaction and possibilities for the player. For example look at warcraft.. from a rts to a rpts to even a mmorpg while the setting and the main storyline are the same for all 3 versions just the interaction and the way the story is told differs not the story itself.
  3. The main thing one has to keep in mind is that a player will want to play the game and to be immersed in and entertained by it. Think of a good action movie, but now the player is the main character. It kind of helps to get into the mindset of the main character perhaps even try out your main characters dialogues in front of a mirror to get a feel if they fit and are not too over the top or out of place. It really depends on the setting and how the feel of the game is, imagine for example fear with swearing (possible but not needed tho the main character might have said more) (It would also deduct at certain times from the suspense buildup if done at the wrong moment, but at the right moment might have given the character more of a personality (yet different, from a good highly trained soldier with a twist to a toughened old style veteran akin to seen in movies)) and say serious sam doing it (not needed and if too heavy it would break the immersion, sarcasm and corny remarks fit better with the lighthearted approach of that game) Tho with soldier of fortune it would fit better, but again not for the main character seeing he is a professional and so used to adversity (except if it goes to extremes he might let out one) one mostly sees it in a enrolled character, someone not fully wanting to be there but being good at what he/she does none the less and experienced.
  4. The main point I was driving at is that without a social reference point within the game shown and/or offset by npc's the main character will look a bit out of place almost comically and that detracts from the immersion. small scenario : - player runs forward and jumps into a trench, bullets wizzing past him, he lets out a curse. - a friendly colonel inside the trench reprimands him for doing so and begins rousing his men to assault forward. Examples : "Dear me, heavens was that necessairy ?" < radio chatter > "sir a new order we're to take the enemy position" "oh well duty calls, perhaps till later and then we'll have a chat about that cussing of yours" <colonel rouses troops and rushes forward, leaving the player stunned behind, player watches and starts mumbling in him/herself "bloody idiots they'll get themselves killed that way.. hmm.. wait a second.. perhaps they'll make it.. just a bit more.." <large bomb hits the group leaving a smoking crater and forcing the player to duck his head back into the trench> "well I guess that friendly chat with milk and cookies is out, better find a way around that minefield" And I agree shock might make people do strange things, but when it's just some other bloke you just met 2 seconds ago you might swear at the enemy for doing it. Getting a mate killed story wise is only done at a crucial time to spur the player on and/or change the plot. Sometimes it's not the player's mate that dies but one of the npc's mates and that npc rushes forward while the player character yells something about ducking down. (First is a more intense version, but harder to get right seeing the player will need time to spend with that npc mate to develop a certain liking, else it won't work. The second version is powerfull enough but a bit more detached, meeting the pair a few times and seeing them work well is enough to understand the feeling) Main idea is to both convey a storyline and create a believable immersion for the player, the storyline spurs the player on to do things and helps the immersion factor. Another thing one can also do is add hints and tips how to play inside the game, not textual but with game mechanics for example : <player is about to rush into a house, suddenly a grenade wizzes past his head and he ducks behind the doorpost just in time> He curses the friendly npc for throwing the grenade, the grenade goes off and a enemy npc falls into the doorway and the friendly npc responds : sorry sir, but standard city fighting doctrine for door to door fighting, first a grenade then rush in. Here are some grenades I have spare. The player learns a lesson and it adds to the atmosphere that city fights are vicious and to expect ambushes. Just one more example : (If the player character or a npc curses it should be because the enemy or environment in game does something to make life harder then it allready is to complete the mission (cussing just randomly seems silly, but in a heavy rainstorm or when a certain easy access bridge is blown it is viable.. )) Say level : Cumbaja ? player is sitting inside a friendly camp after the previous mission, he/she lifts his/her beer, a shot rangs out.. the beer bottle is smashed and a npc sitting next to the player is shot down, player curses about losing his beer. Player kneels next to the wounded npc and calls out : "don't worry I will avenge you" the npc responds "it's only a fleshwound" a second shot rangs out and kills the npc, the player responds "I was not talking about you but about them messing up my beer, time for some fun" [Edited by - Santarr on March 13, 2006 1:41:27 PM]
  5. Actions are considered good or evil according to moral A anti-hero/evil-hero/good-hero is formed not by his actions but by his reasoning why. One has to be carefull there is a fine line between a more evil hero, a good hero and a anti-hero. A evil or good hero does things due to his moral code and set reasoning point, a anti hero is mostly thrust in the middle of where a good or evil hero normally wants to be and is needed and will act in response to the situation and more or less self preservation he/she does not want to be a hero but has to fill the gap for better or worse at least for themselves or another reason. A Good or evil hero may quest to slay a good or evil dragon, a anti hero might find a dragon attacking him and no where to run. Both succeed in slaying the dragon, both are hero's but both for different reasons. For the good or evil hero the reason was mainly dictated by his/her moral view and secondairy exterior motives, for the anti-hero it is dictated mainly by exterior motives (the dragon attacking) and less by moral reasoning. (Kill the king or your wife dies : a good hero will try to safe both and undo the villain, a anti-hero will kill the king or try rescueing his wife but if the villain does not chase the anti hero he may be left alone, a evil hero will let his wife die and kill the one who threatend him/her and then get that crown for him/her self)
  6. One thing to consider is, if it's a inhabitable world, why does the enemy not live there as well and have colonised it a long time ago ? (Seeing they have space travel as well and by the time the humans get there they should allready be there and well established) or is it a hostile environment for them ? if so why would they want it back ? (valubale minerals, prevention of a human super weapon pointed at their homeworld, etc..) (Perhaps a anomality say a radiation storm killed their original settlers and the humans came there.. after the storm subsides the aliens think we killed their settlers..) The main idea may be cliche, but the reasons why and how both for over population and why so many people are send over (no child rule on earth, 1 child rule if you move, prospect of own land, etc..) next to why and how the war started are what set it apart.. (was it due to colonisation of that world that it started or something more sinister done in a forgotten past that the player will have to discover to bring peace/victory to one or both sides)
  7. If it adds to the ambience of the game and the setting then some swearing should not be a problem. It could even be offset by a chance meeting with say another individual whose response could be things like : good golly that was a smidget close for comfort, while the main protagonist just cursed about almost being blown away.. Or say a reprimand from a higher-up about him swearing then that same higher-up doing it due to something happening.. (If mixed in certain ways it amplifies the main setting and can be toned down by comic-esque relief and pointed at.. hence one does not create a super rambo, but a more nitty gritty character who is a tad more rough it seems then most other ppl he meets and live through the same ordeal..)
  8. For some plot twists, perhaps Tiru went mad due to both helping create the portal once long ago and due to it losing his family, this also means he knows how it works and where it is.. But due to grief he forgot and slowly his memory comes back.. (From a crazed killer to a person on a mission of vengeance) also makes room for stuff like him intuitively knowing where to go and/or flashbacks of how an area once was..
  9. My apologies for making a post while not having read all the posts yet in this thread but perhaps a few ideas that came up when reading your plot : Perhaps make it so it was a exploration mission from one organisation, but the main generator had a malfunction while sending (due to the secret organisation) and now they are stuck, yet new supplies (items, possibilities, data-records, designs or even small robots) can be send via the old prototype version (can only transport dead materials and not too large a size) (Also makes for a dramatic entry, half the team dead due to the generator breaking down, the survivors making the best of it.. using the prototype generator they receive new orders : establish and outpost (secretly this was what the secret organisation had in mind in the first place and they also planted an infiltrant or 2 within the group) This gives possibilities to update the plot both on the survivors side and the secret organisation side and gives possibilities for new things to be send through when the group needs them to survive. Also it lends hope to the survivors to return one day.. either via starship or if the main portal goes back online.. perhaps a robot probe send ahead a long time ago they find hints at some artifact that may help them get back.. Plus the survivors outpost could also be complete with settlers arriving just now.. due to the transporter malfunction the main settlement is destroyed/ irradiated.. a small team from the settlement on a outside camp knows of ancient ruins, the new arrivals are treated and taken with them.. perhaps a new start there is possible.. and hence the exploration and reactivation of those ruins to start a new outpost.. and get back in touch with the home world.. Plus why go to that planet and why send a spaceship for the outpost ? perhaps the planet has a certain ore/plant needed that warrants the cost to not only explore but settle the planet. (Material greed offset by say a darker spiritual complot) [Edited by - Santarr on March 10, 2006 5:43:12 AM]