Another week, another post, eh. Well, you're in for a big one, because this week we're talking about how your niche idea could become the next biggest phenomenon since Flappy Bird! But, it's not that simple (nothing's ever simple these days); there are a few guidelines that would help most of the non-programmers and amateurs of the technical spectrum out there, reading this. Here are our articles for this week:
How to design your own video game (2012). Retrieved April 18, 2014, from http://www.animationarena.com/how-to-design-your-own-video-game.html
Landgraf, H. (2012), The Increasing Role of Character Animation in Video Games. Retrieved April 18, 2014, from http://www.animationarena.com/character-animation.html
The first article is about discussing the different elements of a successful video game as well as the different skills needed to produce such works for feasible distribution. The article also points out key problems that can be faced during game development that could cause more detriment than intended if not addressed early enough.
One of the core aspects of this article was the 5 areas of discussion of already-successful games out there: Characters, Originality, Play-ability, Re-Play-ability, and User Interface. I recall some of the games I've developed for recreation lacking dire aspects of Re-play-ability and Character. Though not all games need to meet these 5 criteria, but that would depend on their sole genre.
Landgraf's discussion revolves around the idea that the changing audiences for games causes a demand for more immersible, believable and entertaining story lines that really capture the player into becoming the protagonist in the game. She also presents the importance of character animators in the game industry in order to "bring life" to the characters in the game, in order to simulate realism and smooth movements.
As is the case with most of us reading this (including myself at this moment of blogging), we don't really have a good foundation of character animation and modelling. But, given that we develop such skill sets, the game industry offers many opportunities to those with the right skills in the right fields.
One of the most significant quotes I found in the article was one that really emphasizes the importance of character development in video games today: "If you can get your audience to empathize with a character, they will follow you to the ends of the Earth."
If you ever thought of getting your game pitch out there, try finding someone who is in the industry or knows about how the industry works. If you ever wanted to be a game animator and modeler, there are courses and software programs out there (e.g. Unity, Unreal, etc.) to help you get a grasp on the technical side of the creativity of games. There was probably a better way of saying that, but you'll get the point.
In any case, don't stop believing, man. Because there is purpose in all of us, even if you're a game developer with little to no experience in actual game development.
Peace. ☮
Thursday, 17 April 2014
Thursday, 10 April 2014
The Cruciality of Storylines & Characters
Third post on the blog! Woohoo! Well, you can throw a party wherever you are to commemorate this milestone. So, today, I'd like to address a rather under-looked element of game making: Story lines and Character Development. Here are today's articles:
Nguyen, W., "Buckeye", "jbadams" (2014). Character Development in Video Games. Gamedev.net. Retrieved from http://www.gamedev.net/page/resources/_/creative/game-design/
Colson, D., "Dragonsoulj", "jbadams", Vega, J. (2014). Games are a Wholes New Form of Storytelling. Gamedev.net. Retrieved from http://www.gamedev.net/page/resources/_/creative/game-design/
Nguyen argues that a singular form of character development will not suffice current involvements of players than a combination of varying methods. He states that unlocking game play limits, milestones and incremental learning are all crucial to players learning the game and its mechanics.
Notably, he suggests "Avoid things such as boring game play. Instead of grinding, they can do missions...". As much game making I've done so far (which isn't much), I've seen now that my game play, as much as it amuses me sometimes, we ultimately still need to think about player experiences rather than our own suppositions of what players may or may not enjoy.
He also defined a 'limitation' within the game play as "It can be any type of mechanical change in the game that involves unlocking a new feature", meaning that there are still ways to make any game engaging and fun for players, as long as it doesn't require grinding for hours and getting nothing back, or similar circumstances.
In Colson's article, he proposes that a game's storyline is one of the core elements of a story-driven game, not "just a lick of paint", as he quotes other media he had read prior to writing the article. He states that a game tells a story in a way which involves the player, and with the right tweaking of context and freedom, the game can immerse the player deep in the world the game portrays.
I'm sure we've all seen games where the storyline just doesn't make sense, or the characters are just 2D personalities. The market for games is changing into not one that merely enjoys the mechanics of a game, but also a story to follow, if any. Characters, environments, plot twists; at the same time, Colson states: "...the viewer's interpretation of the image fill in the gaps and create the story", implying that we, as game developers, are not just spoon-feeding the storyline to players, as books and films more or less do.
The player should be able to interpret the game in their own ways, but at the same time, act and understand in a way which matches the context of the game itself.
I think it would be better if you actually read the articles themselves for a full immersion into the depths of a game. I dunno, I found it enlightening, anyway. Hope to catch y'all on this blog again next week.
Peace. ☮
Nguyen, W., "Buckeye", "jbadams" (2014). Character Development in Video Games. Gamedev.net. Retrieved from http://www.gamedev.net/page/resources/_/creative/game-design/
Colson, D., "Dragonsoulj", "jbadams", Vega, J. (2014). Games are a Wholes New Form of Storytelling. Gamedev.net. Retrieved from http://www.gamedev.net/page/resources/_/creative/game-design/
Nguyen argues that a singular form of character development will not suffice current involvements of players than a combination of varying methods. He states that unlocking game play limits, milestones and incremental learning are all crucial to players learning the game and its mechanics.
Notably, he suggests "Avoid things such as boring game play. Instead of grinding, they can do missions...". As much game making I've done so far (which isn't much), I've seen now that my game play, as much as it amuses me sometimes, we ultimately still need to think about player experiences rather than our own suppositions of what players may or may not enjoy.
He also defined a 'limitation' within the game play as "It can be any type of mechanical change in the game that involves unlocking a new feature", meaning that there are still ways to make any game engaging and fun for players, as long as it doesn't require grinding for hours and getting nothing back, or similar circumstances.
In Colson's article, he proposes that a game's storyline is one of the core elements of a story-driven game, not "just a lick of paint", as he quotes other media he had read prior to writing the article. He states that a game tells a story in a way which involves the player, and with the right tweaking of context and freedom, the game can immerse the player deep in the world the game portrays.
I'm sure we've all seen games where the storyline just doesn't make sense, or the characters are just 2D personalities. The market for games is changing into not one that merely enjoys the mechanics of a game, but also a story to follow, if any. Characters, environments, plot twists; at the same time, Colson states: "...the viewer's interpretation of the image fill in the gaps and create the story", implying that we, as game developers, are not just spoon-feeding the storyline to players, as books and films more or less do.
The player should be able to interpret the game in their own ways, but at the same time, act and understand in a way which matches the context of the game itself.
I think it would be better if you actually read the articles themselves for a full immersion into the depths of a game. I dunno, I found it enlightening, anyway. Hope to catch y'all on this blog again next week.
Peace. ☮
Thursday, 3 April 2014
The Game Industry itself.
Sorry I've been slacking off for a week. Life can get pretty busy while you're still studying. Yeah, I'll try and keep the updates going while I can. Who knows, maybe some of you reading this are inspired randomly to take up a similar quest for answers and money. Mostly money, as in my case.
Anyway, TONIGHT. We talk about the jobs in the game industry. Here are the articles this time round:
Robledo, R. (2014) What is a video game designer? Retrieved: April 3rd, 2014, from http://www.animationarena.com/what-is-a-video-game-designer.html
"ArenaMaster" (2014) Getting into the Video Game industry Retrieved: April 3rd, 2014, from http://www.animationarena.com/getting-into-video-game-industry.html
I'd like to note that Robledo speaks, presumably, from an American viewpoint, since he uses terms such as "college" and links possible education avenues to American colleges when the "Degree in Game Design" link is accessed. (Link: http://www.animationarena.com/video-game-design-school.html) However, it does capture the general idea of how the game design process works.
Basically, Robledo states the basic role of game designers, as well as common misconceptions about them, one of them being "Brainstorming and coming up with cool concepts are what a Designer does 10% of the time. The remaining 90% is comprised of the execution of the ideas..." He then moves on to talk about the tools and skills necessary for successful game designers, such as time management skills, effective communication and technical & creative skills.
Personally, this does give me a bit more insight when deciding which career path to choose, as the game industry here in AUS isn't exactly booming, and nor are existing industries (see Hawthorne, M. (2014) Toyota to exit Australia, 30,000 jobs could go, Link: http://www.smh.com.au/business/toyota-to-exit-australia-30000-jobs-could-go-20140210-32cl3.html).
"ArenaMaster", as the alias at the time of writing states as the apparent author, in their article Getting into the Video Game industry mainly focuses on the aspect of video game artistry rather than the industry as a whole. By those means, "ArenaMaster" then discusses the necessary skills and tips required for a decent chance of getting into the art sector of the game development industry, which include daily sketching of things and learning how to use the right graphics tools for certain art styles.
Although I have little intention on joining this niche (or major, depending on how you look at it) part of the industry, it's still important to be aware of the different avenues of game design out there and the types of training and effort needed to remain competent in the busy world of jobs.
As I said at the start, I'll try and blog again next week, so stay tuned for more articular goodness. I wonder if Blogger also allows a comment system for these posts as well...
Peace. ☮
Anyway, TONIGHT. We talk about the jobs in the game industry. Here are the articles this time round:
Robledo, R. (2014) What is a video game designer? Retrieved: April 3rd, 2014, from http://www.animationarena.com/what-is-a-video-game-designer.html
"ArenaMaster" (2014) Getting into the Video Game industry Retrieved: April 3rd, 2014, from http://www.animationarena.com/getting-into-video-game-industry.html
I'd like to note that Robledo speaks, presumably, from an American viewpoint, since he uses terms such as "college" and links possible education avenues to American colleges when the "Degree in Game Design" link is accessed. (Link: http://www.animationarena.com/video-game-design-school.html) However, it does capture the general idea of how the game design process works.
Basically, Robledo states the basic role of game designers, as well as common misconceptions about them, one of them being "Brainstorming and coming up with cool concepts are what a Designer does 10% of the time. The remaining 90% is comprised of the execution of the ideas..." He then moves on to talk about the tools and skills necessary for successful game designers, such as time management skills, effective communication and technical & creative skills.
Personally, this does give me a bit more insight when deciding which career path to choose, as the game industry here in AUS isn't exactly booming, and nor are existing industries (see Hawthorne, M. (2014) Toyota to exit Australia, 30,000 jobs could go, Link: http://www.smh.com.au/business/toyota-to-exit-australia-30000-jobs-could-go-20140210-32cl3.html).
"ArenaMaster", as the alias at the time of writing states as the apparent author, in their article Getting into the Video Game industry mainly focuses on the aspect of video game artistry rather than the industry as a whole. By those means, "ArenaMaster" then discusses the necessary skills and tips required for a decent chance of getting into the art sector of the game development industry, which include daily sketching of things and learning how to use the right graphics tools for certain art styles.
Although I have little intention on joining this niche (or major, depending on how you look at it) part of the industry, it's still important to be aware of the different avenues of game design out there and the types of training and effort needed to remain competent in the busy world of jobs.
As I said at the start, I'll try and blog again next week, so stay tuned for more articular goodness. I wonder if Blogger also allows a comment system for these posts as well...
Peace. ☮
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