In homework twelve, my team assessed what duties are required to complete our game. The tasks that we determined are necessary, and their level of completions, are:
Player - 100%
City - 100%
Visor - 80%
Cone Sensor - 100%
Items - 0%
Textures - 90%
Programming
* Item Array - 0%
* AI interface - 0%
Visor Logic - 60%
Skeletons and Animation - 50%
Buildings - 80%
Sounds - 0%
Sky-box - 0%
City Objects - 80%
Cut scenes - 0%
By comparing both lists, the accomplishments are close. What we are struggling with at the moments are the duties that require programming. These duties are the item array, AI interface, and the visor logic. We should have these necessities accomplished by the end of next week. For this Sunday, we are to turn in a prototype of our game. In this prototype version, we will have the following:
Completed city
Movable protagonist
AI placement
Object placement
Sky-box
Visor overlay
Textures
We hope to also achieve the following for Sunday:
Building insides
Sounds
Cone sensor warning (will prove that the cone sensor is operational)
Stealth-bar animation
That would leave AI chasing, the item array, the cut scenes, and item programming left for the next few weeks.
Friday, November 14, 2014
Saturday, November 8, 2014
My Progress this Week
In this week, I have contributed to the team by being the contact manager. I process the schedules of the team and calculate when the best meeting times and locations. We keep contact and share progress through use of texts, Skype, and face-to-face meetings. I also completed the cone sensor this week, which will be used for the AI drones to detect the player. I also gave input to the design of the game poster.
Homework 14 - Indirect Control
Method's of Indirect Control
Method #1: Constraints
In our game, there are a few constraints that force the player to partake in certain decisions. One way we do so with is a limited type of items to use for distraction. The player can choose which items to distract the AI drones with, but they are all distraction-type items. The player has choice, but follows the goals that we create.
Method #2: Goals
We use goals to indirectly control our player in the form of a stealth-based game. The goal is to complete the game without being detected. Since the AI drones are placed throughout the game, we force the player to play stealthily. We also use Carol as a form of indirect control. We use her in the sense of emotional control. The goal of "protect Carol" is not made explicit, but the player will naturally want to protect this newly introduced individual.
Method #3: Interface
For our game, the physical interface is a keyboard. This is not our rather because it has too many buttons for the indirect control we seek. The virtual interface will allow us to utilize indirect control. While they play as the protagonist, they will feel the power of not being detected. When Carol is introduced, however, they will feel a sense to recalculate every move they make.
Method #4: Visual Design
In Viral Shock, we use the concept of visual design to indirectly control the player. One way we do so is how the streets are designed. The roads are wide, but filled with AI drones. There are also smaller alley streets the player can go through as well, but it might be a dead end. With these options, we create the debate within the player. Now for the indirect control. By placing cars, benches, etc to hide behind in the roads, the player will feel like they will have more control of their movements in the roads. The alleyways will also be dark, giving the feel of danger and unease. This introduces risk and therefore indirect control.
Method #5: Characters
As mentioned in methods two and three, we use the character Carol for indirect control. Her method is through the natural empathy to protect the young. She is also a bit shell-shocked, which lends to the tendency to lend a hand to one in need. Though the Headgear Guidance System gives direct control throughout the beginning of the game, it also slightly reveals its evil intentions as the virus. It does so in a few ways. When a player has a weak item, for example a rock, and can discard it for a stronger item like a smoke bomb. There will be a green sheen around the bomb, symbolizing a wise choice. If the player has a bomb but would like a rock, there will be a red sheen around the rock. This gives a sense that the HGS sees the rock as weak. This makes sense in the understanding that the HGS desires to destroy humanity because it sees humans as weak.
Method# 6: Music
To use indirect control in our game, we chose to introduce different kinds of sounds. We chose to use ambient sounds to convey the sense of post-destruction of the city, which is now abandoned. When the Stealth-bar increases, the sound of a heartbeat will also increase as well. This will create the sense of danger and fear. We also use the absence of sound for control, as well as timed introduction of speach. Throughout the game, the player does not speak, except for two scenes. The first scene is when he meets Carol. He does not say a word, but simply begins a word. We use this to convey a specific idea. Though he is fighting against technology, he is acting like a super-rational computer. When he feels the need to protect Carol, he shows slight human emotions. In the final scene, when he realizes that he killed humans who were being kept alive by the AI, he says the first statement he has said in the game. He is heartbroken, and therefore, completely human.
Method #1: Constraints
In our game, there are a few constraints that force the player to partake in certain decisions. One way we do so with is a limited type of items to use for distraction. The player can choose which items to distract the AI drones with, but they are all distraction-type items. The player has choice, but follows the goals that we create.
Method #2: Goals
We use goals to indirectly control our player in the form of a stealth-based game. The goal is to complete the game without being detected. Since the AI drones are placed throughout the game, we force the player to play stealthily. We also use Carol as a form of indirect control. We use her in the sense of emotional control. The goal of "protect Carol" is not made explicit, but the player will naturally want to protect this newly introduced individual.
Method #3: Interface
For our game, the physical interface is a keyboard. This is not our rather because it has too many buttons for the indirect control we seek. The virtual interface will allow us to utilize indirect control. While they play as the protagonist, they will feel the power of not being detected. When Carol is introduced, however, they will feel a sense to recalculate every move they make.
Method #4: Visual Design
In Viral Shock, we use the concept of visual design to indirectly control the player. One way we do so is how the streets are designed. The roads are wide, but filled with AI drones. There are also smaller alley streets the player can go through as well, but it might be a dead end. With these options, we create the debate within the player. Now for the indirect control. By placing cars, benches, etc to hide behind in the roads, the player will feel like they will have more control of their movements in the roads. The alleyways will also be dark, giving the feel of danger and unease. This introduces risk and therefore indirect control.
Method #5: Characters
As mentioned in methods two and three, we use the character Carol for indirect control. Her method is through the natural empathy to protect the young. She is also a bit shell-shocked, which lends to the tendency to lend a hand to one in need. Though the Headgear Guidance System gives direct control throughout the beginning of the game, it also slightly reveals its evil intentions as the virus. It does so in a few ways. When a player has a weak item, for example a rock, and can discard it for a stronger item like a smoke bomb. There will be a green sheen around the bomb, symbolizing a wise choice. If the player has a bomb but would like a rock, there will be a red sheen around the rock. This gives a sense that the HGS sees the rock as weak. This makes sense in the understanding that the HGS desires to destroy humanity because it sees humans as weak.
Method# 6: Music
To use indirect control in our game, we chose to introduce different kinds of sounds. We chose to use ambient sounds to convey the sense of post-destruction of the city, which is now abandoned. When the Stealth-bar increases, the sound of a heartbeat will also increase as well. This will create the sense of danger and fear. We also use the absence of sound for control, as well as timed introduction of speach. Throughout the game, the player does not speak, except for two scenes. The first scene is when he meets Carol. He does not say a word, but simply begins a word. We use this to convey a specific idea. Though he is fighting against technology, he is acting like a super-rational computer. When he feels the need to protect Carol, he shows slight human emotions. In the final scene, when he realizes that he killed humans who were being kept alive by the AI, he says the first statement he has said in the game. He is heartbroken, and therefore, completely human.
Thursday, October 23, 2014
My Progress this Week
This week, I have been working on the player controls. To do so, I gave logic to a cube, and made it a parent of a camera. I plan to add arms and legs to the piece. I have also been working on a cone sensor for AID's (Artificial Intelligence Drones). Preparations on completing the visor interface has been part of my work as well.
Homework 11 - Interfaces
1) Describe the user interface of your game.
Physical Input - World: we are using a keyboard and mouse for our physical input.
World - Physical Output: the player will see the world in a first-person point of view.
Physical Input - Virtual Interface:
I = item menu
A or D during I = switching items
A or D outside of I = use items
Turning mouse = turn left or right
Left click + hold = run forward
right click + hold = run backward
Virtual Interface - World: the player will be able to use items, mostly throwing objects for distraction. The effect will be immediate to simulate actions taken in the physical world.
World - Virtual Interface: If the AID's (Artificial Intelligent Drones) are near the player, the stealth-bar will change color and size. If in the red zone, an alarm will sound. The player may also enter a "Target mode", in which items and AID's are highlighted.
Virtual Interface - Physical Output:
Stealth-bar: will change color and size
Alarm: will sound if Stealth-bar is in the red zone.
Targeting system: marked by blue lines
Item menu: Is only shown when player hits the "I" button. Is pseudo-transparent as to mimic what would appear on a headset with a visual system.
2) What role will the interface play in your game?
It will direct the player into how to avoid AID's, what items you have in your arsenal, while also being part of the game world itself.
3) Intuitive interfaces give a feeling of control. How easy is your interface to master?
It seems as if the controls are simple, but will require more aggressive study.
4) Will your players have a strong influence over the outcome of the game?
Yes, the player will face a quick or safe dynamic. They may move quickly at the risk of being discovered by the AID's.
5) Do the players of your game feel powerful?
We desire that the player feels powerful in skill and stealth.
6) What does the player pick up and touch?
The player will interact with items such as smoke bombs, flares, cool-down serum, etc.
7) Does the interface map to actions in the world? How?
Yes. The player will feel as if they are wearing a visor in the world.
8) How does your interface let the player see, hear and touch the world of the game?
By wearing a visor, one feels an artificial interaction with the outside world. The visor interface will allow our players to feel that artificial interaction and thus, feel as if the game is the physical world.
9) The idea interface in invisible to the player. Does your interface cater to the players desires? What are these desires?
The player will desire to seamlessly move throughout the world and avoid AID's. We believe our interface will lend itself to a smooth control of the players actions, and therefore the game.
10) Can your interface be used without the players thinking? Is it natural?
We believe that the player will become lost in the feel of the game, that the interface is natural. More play-testing is required.
11) Assuming you can do what you want, how would you make your interface more natural?
We would like to use a form of user input aside from a keyboard, perhaps a specially-designed controller. We also would like to use something similar to the Oculos Rift.
12) What kind of feedback does your interface present the player? What do the players want to know? How does the interface relate to the player's goal?
The player receives feedback on how alerted the AID's are. They also receive feedback on items that are nearby.
The player will want to know how much attention they have caught, because the game is stealth-based. They would also like to know the safest locations to hide and traverse.
The interface gives a stealth-bar to show the player the safest place to stand. Through trial and error, the player will learn the best places to traverse.
13) Is the interface feedback continuous?
Yes. The stealth-bar will continually change during game play.
14) Please describe the concept of interface modes. Does your game have multiple modes?
Interface modes are the ways that the interface changes for the player in game play. Our game has only two modes. The interface change is when the player is selecting their items to use, by pressing the "I" button. With the item menu open, "A" and "D" become item switching keys. The item menu will appear. By pressing "I" again, the player switches back to "throw mode". In throw mode, "A" and "D" are throwing keys.
Physical Input - World: we are using a keyboard and mouse for our physical input.
World - Physical Output: the player will see the world in a first-person point of view.
Physical Input - Virtual Interface:
I = item menu
A or D during I = switching items
A or D outside of I = use items
Turning mouse = turn left or right
Left click + hold = run forward
right click + hold = run backward
Virtual Interface - World: the player will be able to use items, mostly throwing objects for distraction. The effect will be immediate to simulate actions taken in the physical world.
World - Virtual Interface: If the AID's (Artificial Intelligent Drones) are near the player, the stealth-bar will change color and size. If in the red zone, an alarm will sound. The player may also enter a "Target mode", in which items and AID's are highlighted.
Virtual Interface - Physical Output:
Stealth-bar: will change color and size
Alarm: will sound if Stealth-bar is in the red zone.
Targeting system: marked by blue lines
Item menu: Is only shown when player hits the "I" button. Is pseudo-transparent as to mimic what would appear on a headset with a visual system.
2) What role will the interface play in your game?
It will direct the player into how to avoid AID's, what items you have in your arsenal, while also being part of the game world itself.
3) Intuitive interfaces give a feeling of control. How easy is your interface to master?
It seems as if the controls are simple, but will require more aggressive study.
4) Will your players have a strong influence over the outcome of the game?
Yes, the player will face a quick or safe dynamic. They may move quickly at the risk of being discovered by the AID's.
5) Do the players of your game feel powerful?
We desire that the player feels powerful in skill and stealth.
6) What does the player pick up and touch?
The player will interact with items such as smoke bombs, flares, cool-down serum, etc.
7) Does the interface map to actions in the world? How?
Yes. The player will feel as if they are wearing a visor in the world.
8) How does your interface let the player see, hear and touch the world of the game?
By wearing a visor, one feels an artificial interaction with the outside world. The visor interface will allow our players to feel that artificial interaction and thus, feel as if the game is the physical world.
9) The idea interface in invisible to the player. Does your interface cater to the players desires? What are these desires?
The player will desire to seamlessly move throughout the world and avoid AID's. We believe our interface will lend itself to a smooth control of the players actions, and therefore the game.
10) Can your interface be used without the players thinking? Is it natural?
We believe that the player will become lost in the feel of the game, that the interface is natural. More play-testing is required.
11) Assuming you can do what you want, how would you make your interface more natural?
We would like to use a form of user input aside from a keyboard, perhaps a specially-designed controller. We also would like to use something similar to the Oculos Rift.
12) What kind of feedback does your interface present the player? What do the players want to know? How does the interface relate to the player's goal?
The player receives feedback on how alerted the AID's are. They also receive feedback on items that are nearby.
The player will want to know how much attention they have caught, because the game is stealth-based. They would also like to know the safest locations to hide and traverse.
The interface gives a stealth-bar to show the player the safest place to stand. Through trial and error, the player will learn the best places to traverse.
13) Is the interface feedback continuous?
Yes. The stealth-bar will continually change during game play.
14) Please describe the concept of interface modes. Does your game have multiple modes?
Interface modes are the ways that the interface changes for the player in game play. Our game has only two modes. The interface change is when the player is selecting their items to use, by pressing the "I" button. With the item menu open, "A" and "D" become item switching keys. The item menu will appear. By pressing "I" again, the player switches back to "throw mode". In throw mode, "A" and "D" are throwing keys.
Thursday, October 9, 2014
Homework 10 - Inventory Menu
This menu is our game's inventory menu. It will contain all the items that the protagonist will carry throughout the game-play. The way the menu works is like two arm-pouches. The left menu contains smaller items, such as smoke bombs, flares, keys, etc. The right menu will hold larger items, including an EMP gun, a first aid kit, etc. To view the menu, the player will press the "R" button. The menu will then appear within the player's visor. By pressing the "A" button, the left menu will rotate to the right. By pressing the "D" button, the right menu will rotate to the left. The inward-most item is what will be used by the player. While the inventory is not view able, The "A" and "D" buttons will be the action buttons in order to use the selected items. The limitations of eight slots, four if you are counting for each arm, will create the debate withing the player's mind as to what items should be used for discarded.
Note: The multicolored menu to the left is, currently for noticing the rotation only. This may be modified at a later date.
Homework 9 - Twelve Kinds of Balance
Fairness:
The game is a asymmetrical game in that it is one player against an army of AI drones. To create fairness, the AI drones are simple in motion and utilize no items, while the player can manipulate his or her own movement with dexterity and use items.
Challenge Vs. Success:
We increase the amount of AI drones that guard the mainframes with each succession of hacked mainframe.
The player will go through "tutorial areas" quickly, allowing the player to learn necessary skills quickly.
Meaningful Choices:
The player will have to decide the best routs to reach the mainframe areas. They can either be quick with high risk of being seen, or slow and stealthy to avoid detection.
Skill Vs. Chance:
While the AI drones are placed in specific locations, chance is created when the player's choice of distraction is effective or ineffective. It could stun the AI drones, or it could draw more in.
Head Vs. Hands:
This game is more about the thinking and planning aspect, though Hands comes into play if the player is discovered. He or she must run away and find places to hide and evade the AI drones.
Competition Vs. Cooperation:
At the current moment, the game is single player. Therefore, there is not any form of competition or cooperation at this time, aside against the AI drones.
Short Vs. Long:
With the game including a single map, and with the goals being straightforward, the game should not last excessively long. However, play-testing must be done in order to discover if this is true.
Rewards:
The rewards of our game include the ability to explore, the closure of completion, and unlocking details of the story line.
Punishment:
The forms of punishment against the player include exciting risks, shaming after failure, shortened play, setbacks, and resource depletion.
Freedom Vs. Controlled Experience:
At the beginning of the game, the player receives a visor that trains the player and describes missions. This is a part of a controlled experience. The player, however, can chose in which way they may perform the mission. They may take different paths, use different items, etc.
Simple Vs. Complex:
The game in its current format is complex in that the player must undergo difficult situations in a puzzle-like manner. What our team is trying to use to simplify the game is the visor that gives clues throughout game play, though less over time.
Detail Vs. Imagination:
Our game will include subtitles instead of voices, and a sky-box instead of a whole city.
The game is a asymmetrical game in that it is one player against an army of AI drones. To create fairness, the AI drones are simple in motion and utilize no items, while the player can manipulate his or her own movement with dexterity and use items.
Challenge Vs. Success:
We increase the amount of AI drones that guard the mainframes with each succession of hacked mainframe.
The player will go through "tutorial areas" quickly, allowing the player to learn necessary skills quickly.
Meaningful Choices:
The player will have to decide the best routs to reach the mainframe areas. They can either be quick with high risk of being seen, or slow and stealthy to avoid detection.
Skill Vs. Chance:
While the AI drones are placed in specific locations, chance is created when the player's choice of distraction is effective or ineffective. It could stun the AI drones, or it could draw more in.
Head Vs. Hands:
This game is more about the thinking and planning aspect, though Hands comes into play if the player is discovered. He or she must run away and find places to hide and evade the AI drones.
Competition Vs. Cooperation:
At the current moment, the game is single player. Therefore, there is not any form of competition or cooperation at this time, aside against the AI drones.
Short Vs. Long:
With the game including a single map, and with the goals being straightforward, the game should not last excessively long. However, play-testing must be done in order to discover if this is true.
Rewards:
The rewards of our game include the ability to explore, the closure of completion, and unlocking details of the story line.
Punishment:
The forms of punishment against the player include exciting risks, shaming after failure, shortened play, setbacks, and resource depletion.
Freedom Vs. Controlled Experience:
At the beginning of the game, the player receives a visor that trains the player and describes missions. This is a part of a controlled experience. The player, however, can chose in which way they may perform the mission. They may take different paths, use different items, etc.
Simple Vs. Complex:
The game in its current format is complex in that the player must undergo difficult situations in a puzzle-like manner. What our team is trying to use to simplify the game is the visor that gives clues throughout game play, though less over time.
Detail Vs. Imagination:
Our game will include subtitles instead of voices, and a sky-box instead of a whole city.
Thursday, October 2, 2014
My Progress this Week - Week 4
This week, I created buildings for the game. I also began to design the robot for the final scene. I then drew plans for how the doors will look.
Homework 8 - Animation
In the game, the player will fly a hacked helicopter across the city. The character will be challenged by a swarm of robots, which in place stands a growing robot. The helicopter will be able to move in all directions, though it will have to swivel around.
Link to my model:
https://drive.google.com/?usp=folder&authuser=0#folders/0B_lvir2c0U85M1Vsa1VGRE15Y0E
Homework 7 - Ch 10 Answers
1) Is the space in your game discrete or continuous?
It is continuous.
2) How many dimensions does your space have?
It has three dimensions.
3) What are the boundaries of your space?
The player can not freely fly or swim. Therefore, the boundaries will include the sky, bodies of water, and walls.
4) How many verbs do your characters have? What are they?
The characters have six verbs. They are the ability to walk, jump, crouch, communicate, shoot, and drop item.
5) How many objects can each verb act on? What are these objects?
The verbs can act on three objects. They can act on the player, the ally, and the enemy.
6) How many ways can players achieve their goals?
So far, there are two ways to achieve the final goal.
7) How many subjects do the players control? What are these subjects?
The player can control three subjects so far: the protagonist, the side-character, and the virus.
8) How do side effects change constraints?
Victory in the game is achieved by stealth. The more an enemy spots you, your detection meter will increase. The stealthier the character is early on, the more likely he will be undetected later.
9) What are the operative actions in your game?
The operative actions include move left, right, forward, and backwards. They also include a left arm item and a right arm item. The player can communicate with the headset and other characters. The player can also duck-and-cover.
10) What are the resultant actions in your game?
The player is able to explore the world, and avoid enemies. The enemies can be stunned with stun items. The player's health can regenerate. Passageways are opened as well.
11) What actions would you like your players to do that they cannot presently do?
Be able to use the Oculus for the game-play.
12) What is the ultimate goal of your game?
To watch a final cut-scene, which changes based off of decisions made in the game.
13) Are there short and long term goals? What are they?
The short-term goals are to protect the female side-character and upload viruses into mainframes. The long-term goals are to obey the missions set by the visor screen, discover clues move along the story-line, and enter the final cut-scene.
14) How do you plan to make the game goals known and understood by the player?
The plan is twofold. It includes obeying the missions given by the visor and discovering clues that reveal the history within the game.
15) What are the foundational rules of your game?
The player must insert viruses to checkpoints without being discovered.
16) How are these rules enforced?
They are enforced by a "Stealth-bar". It increases from blue, green, yellow, orange, and red. When it shines red, the player is introduced to a fade scene that shows the character being swamped by AI Zombies.
17) Does your game develop real skills? What are they?
Yes. If the player has a good eye for space and detail, the character can hide in hard-to-be-seen locations.
18) Does your game develop virtual skills? What are they?
Yes. They include hacking and park-ore.
It is continuous.
2) How many dimensions does your space have?
It has three dimensions.
3) What are the boundaries of your space?
The player can not freely fly or swim. Therefore, the boundaries will include the sky, bodies of water, and walls.
4) How many verbs do your characters have? What are they?
The characters have six verbs. They are the ability to walk, jump, crouch, communicate, shoot, and drop item.
5) How many objects can each verb act on? What are these objects?
The verbs can act on three objects. They can act on the player, the ally, and the enemy.
6) How many ways can players achieve their goals?
So far, there are two ways to achieve the final goal.
7) How many subjects do the players control? What are these subjects?
The player can control three subjects so far: the protagonist, the side-character, and the virus.
8) How do side effects change constraints?
Victory in the game is achieved by stealth. The more an enemy spots you, your detection meter will increase. The stealthier the character is early on, the more likely he will be undetected later.
9) What are the operative actions in your game?
The operative actions include move left, right, forward, and backwards. They also include a left arm item and a right arm item. The player can communicate with the headset and other characters. The player can also duck-and-cover.
10) What are the resultant actions in your game?
The player is able to explore the world, and avoid enemies. The enemies can be stunned with stun items. The player's health can regenerate. Passageways are opened as well.
11) What actions would you like your players to do that they cannot presently do?
Be able to use the Oculus for the game-play.
12) What is the ultimate goal of your game?
To watch a final cut-scene, which changes based off of decisions made in the game.
13) Are there short and long term goals? What are they?
The short-term goals are to protect the female side-character and upload viruses into mainframes. The long-term goals are to obey the missions set by the visor screen, discover clues move along the story-line, and enter the final cut-scene.
14) How do you plan to make the game goals known and understood by the player?
The plan is twofold. It includes obeying the missions given by the visor and discovering clues that reveal the history within the game.
15) What are the foundational rules of your game?
The player must insert viruses to checkpoints without being discovered.
16) How are these rules enforced?
They are enforced by a "Stealth-bar". It increases from blue, green, yellow, orange, and red. When it shines red, the player is introduced to a fade scene that shows the character being swamped by AI Zombies.
17) Does your game develop real skills? What are they?
Yes. If the player has a good eye for space and detail, the character can hide in hard-to-be-seen locations.
18) Does your game develop virtual skills? What are they?
Yes. They include hacking and park-ore.
Friday, September 26, 2014
My Progress this Week - Week 3
This week, I made progress on the robot design in Maya. I also downloaded sketches of buildings to use in the development of the structures in my team's game. I also learned how to animate objects, and am learning how to use skeletons in Maya. I am in the process of learning if the skeleton will transfer into Blender.
Thursday, September 25, 2014
Homework 6
The scene that I selected is a helicopter shooting at a robot. The enemy virus will be taking over the robot body near the end of the game. The player will be shooting from a helicopter in order to destroy it.
Thursday, September 18, 2014
Homework 5
1 1)
The objects relate to my game because the
helicopter will be the player’s vehicle, and the robot will be one of the
villain’s forms.
2 2)
The game allows two players to play at the
same time:
A = helicopter left
D = helicopter right
W = helicopter up
S = helicopter down
Space = helicopter shoot
Left arrow = robot left
Right arrow = robot right
3 3)
I have it where if you hit the robot, it
disappears. I want to make it where the
robot and the helicopter can rotate around one another. I also want to make it where the robot
shoots. I want to create counters that
count collisions, so that the objects have life bars.
Wednesday, September 17, 2014
Chapter 2
1) What are the experiences you want your player to have?
I want my player to experience a sense of emergency and shock.
2) What are the essential elements of that experience?
Betrayal, loss, fast moving objects.
3) Suggest a few ways your game might capture those experiences.
The player will be led to believe that the AI is evil and the guidance program is good. During the end of the game, the player realizes that the AI has been misrepresented by the guidance program.
Chapter 3
1) How will you include surprise in your game?
Betrayal by the guidance program, and that the AI the player has been attacking is good, not evil.
2) How will your game be fun?
We plan to include puzzles that unlock new passageways.
3) How will you make the player attached to your game?
Memorable characters and a desire to undo chaos.
4) What problems do you expect the players to solve in your game?
The puzzles that lock the passageways, avoidance of AI zombies, and decision making that influences the game.
My Progress this Week - Week 2
During this week, I used blender to download models. I then modified them to meet the game's purposes. I also made a building that can be pushed down by a robot that fires missiles. I also meet with my team last Friday, and we elaborated on the story line and the game-play of the game. I also have been practicing downloading Maya models into Blender. I do so because it is easier for me to make a clean model in Maya than in Blender.
Thursday, September 11, 2014
My Progress this Week - Week 1
This week, for my game design class, I worked on smoothing the last details of the game's story-line. This includes the protagonist, his friend, the enemy virus, and the innocent AI. I will also meet up with my team on Friday to finish out the last details. I have downloaded two objects, a robot and a helicopter, into blender. I then added controls to the models.
Project Intro Questions
1) When and where did you meet?
My team met up after class at the dinning area.
2) What did you discuss?
We discussed the game's story-line and design.
3) Did you take notes?
Yes, we did. We took notes so that we could track the flow of the conversation, and the development of our game.
4) Did you transfer the contents of the discussion to the computer?
Yes, in a typed document.
5) Did you discuss the game document?
Yes, we did mention it. Since our team members have many responsibilities, we meet up on Friday to achieve most of our discussions.
6) Did you pick a team leader?
No, we did not. We chose against having a team leader because we did not want a particular individual controlling the game's turn-out.
7)Please describe briefly some of the initial ideas regarding your game.
We decided on a game that is based off of humanity turning against an innocent AI. They believe that the AI killed people, when instead it was a virus. The AI tries to prove its innocence by taking over the human's bodies, which leads people to believe that the AI is trying to take over. In its truest form, the game is about a no-win scenario, in which neither the humans or the AI wins. This ending leads to a inward discussion about choices and their consequences.
8) State the contributions that you made towards your team's game.
The part that I play as a team member is story-boarding. I would speak up about the game development, and my team mates would discuss how they viewed the flow of the game. While the whole team contributed to the story, I would do what I do best and nudge the pieces of the puzzle together.
My team met up after class at the dinning area.
2) What did you discuss?
We discussed the game's story-line and design.
3) Did you take notes?
Yes, we did. We took notes so that we could track the flow of the conversation, and the development of our game.
4) Did you transfer the contents of the discussion to the computer?
Yes, in a typed document.
5) Did you discuss the game document?
Yes, we did mention it. Since our team members have many responsibilities, we meet up on Friday to achieve most of our discussions.
6) Did you pick a team leader?
No, we did not. We chose against having a team leader because we did not want a particular individual controlling the game's turn-out.
7)Please describe briefly some of the initial ideas regarding your game.
We decided on a game that is based off of humanity turning against an innocent AI. They believe that the AI killed people, when instead it was a virus. The AI tries to prove its innocence by taking over the human's bodies, which leads people to believe that the AI is trying to take over. In its truest form, the game is about a no-win scenario, in which neither the humans or the AI wins. This ending leads to a inward discussion about choices and their consequences.
8) State the contributions that you made towards your team's game.
The part that I play as a team member is story-boarding. I would speak up about the game development, and my team mates would discuss how they viewed the flow of the game. While the whole team contributed to the story, I would do what I do best and nudge the pieces of the puzzle together.
Tuesday, September 2, 2014
Tree Cutting Video
In this video, you see my family cutting down a large tree from my maw-maw and paw-paw's yard. Good thing it was dead, because if it was not, it would have taken longer. The man by the tree is my uncle. He had to fight to get the chainsaw to work! My brother, dad, and cousins were there as well.
Monday, September 1, 2014
Two of my Drawings
The first picture I drew is about a sentient robot that is able to manipulate nature. Behind the metallic head is the silhouette of a tree, emphasizing on its connection to nature. In its hand is a gaseous orb, and behind it are two gaseous planets. This displays how the gases of a planet can influence nature. The rocks that float around the individual speak of a cosmic power, hinting toward space-travel. The second and third pictures are the base hand sketch and base adobe sketch of Leviathan. The way I envisioned it, Leviathan could be displayed as a combination of mythology and discovery. The Plesiosaurus was an inspiration for the structure of the Leviathan. The long beard, six fins, and armored head sculpted the mythological feel of the piece.
Two of my Favorite Games, with Links
Legend of Zelda, Twilight Princess~
http://www.zelda.com/tp/
Yu-Gi-Oh: The Duelists of the Roses~
http://www.playstation.com/en-us/games/yu-gi-oh-the-duelists-of-the-roses-ps2
Legend of Zelda, Twilight Princess and Yu-Gi-Oh: The Duelists of the Roses are two of my favorite games to play. The reason I like Twilight Princess is the roaming feature that has made the Zelda series so famous. The player gets to play inside a massive virtual landscape and perform daring feats. The game also plays as a step-by-step system, in which you perform tasks to collect items and skills which allow you to move farther in the game. What I appreciate the most about it is the graphics. The graphics are smooth, but also noticeably not realistic. What I like about The Duelists of the Roses is that it combines the maneuvering style of chess with the addition of terrain, creatures, and traps. The game allows you to play all of these from a card deck, which the player can formulate and modify to his or her liking. The game also has a history-based background, which I always appreciate.
http://www.zelda.com/tp/
Yu-Gi-Oh: The Duelists of the Roses~
http://www.playstation.com/en-us/games/yu-gi-oh-the-duelists-of-the-roses-ps2
Legend of Zelda, Twilight Princess and Yu-Gi-Oh: The Duelists of the Roses are two of my favorite games to play. The reason I like Twilight Princess is the roaming feature that has made the Zelda series so famous. The player gets to play inside a massive virtual landscape and perform daring feats. The game also plays as a step-by-step system, in which you perform tasks to collect items and skills which allow you to move farther in the game. What I appreciate the most about it is the graphics. The graphics are smooth, but also noticeably not realistic. What I like about The Duelists of the Roses is that it combines the maneuvering style of chess with the addition of terrain, creatures, and traps. The game allows you to play all of these from a card deck, which the player can formulate and modify to his or her liking. The game also has a history-based background, which I always appreciate.
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