Luzur
Good Sir
EVERYTHING WORKED BETTER THEN EXPECTED I GUESS.
racofer said:Christina Norman, lead gameplay designer of the ME series, has left Bioware:
sounds like it has a real chance of sucking less, then.racofer said:Christina Norman, lead gameplay designer of the ME series, has left Bioware:
Multiple Sarcasm said:Christina Norman also explains that in Mass Effect 1 when you level up, it interrupts gameplay and when you pause the game to level up and jump back into the action, you do not know what’s going on.
Christina Norman, the woman that couldn't into stats, equipment modding and useful combat magic in space fantasy. We are all diminished by this loss.
You oversimplify. There is a lot of work in game design beyond "okay press X to shoot dudes," even in shooters. Everything from movement speed in enemies and friendly characters, to damage and hit point values of weapons, to the controls, to the user interface, to the "feel" of gameplay (such as how "sticky" a cover system is or how weapons handle), to the overall structure of the game, to pacing and level design, to equipment and ability progression, etc. all go through game designers, which might operate under other titles like systems designers or level designers for more specific roles. It's a designer's job to have a holostic understanding not just of the game, but of the tools used to make it, and the team making it. A designer's role is as much coming up with ideas as it is coordinating and managing a large team of people, keeping them all on the same page as each other, making sure information gets communicated successfully, managing playtesting and balance, creating documentation for all of that (which often spans thousands of pages), etc.thursdayschild said:Lead designer, and the game has 5 designers? On mass effect series? If more than an hour of thought went into the gameplay I'd be shocked. I mean an hour of thought by someone with a brain, of course, something most people seem to lack as I've seen people struggle endlessly to decide where to place a single button.
Have you ever actually bothered doing any game development at all, or are you just talking out of your ass again?MetalCraze said:sea brings lulz once again.
Yes giving you a weapon that deals 20 damage per second and putting a static enemy that isn't even AI with 100 hp behind the box for 8 hours is an extremely complicated game design. Especially considering that everything that enemy does is either being exposed to a shot or not.
While the same goes for the player.
Considering that it looks like UE3 probably has an "auto create another Gears of War clone" button which spawns overly complicated design-y linear corridors randomly filled with boxes - this takes sooooo muuuuchhh woooorkkk
sea said:You oversimplify. There is a lot of work in game design beyond "okay press X to shoot dudes," even in shooters. Everything from movement speed in enemies and friendly characters, to damage and hit point values of weapons, to the controls, to the user interface, to the "feel" of gameplay (such as how "sticky" a cover system is or how weapons handle), to the overall structure of the game, to pacing and level design, to equipment and ability progression, etc. all go through game designers, which might operate under other titles like systems designers or level designers for more specific roles. It's a designer's job to have a holostic understanding not just of the game, but of the tools used to make it, and the team making it. A designer's role is as much coming up with ideas as it is coordinating and managing a large team of people, keeping them all on the same page as each other, making sure information gets communicated successfully, managing playtesting and balance, creating documentation for all of that (which often spans thousands of pages), etc.thursdayschild said:Lead designer, and the game has 5 designers? On mass effect series? If more than an hour of thought went into the gameplay I'd be shocked. I mean an hour of thought by someone with a brain, of course, something most people seem to lack as I've seen people struggle endlessly to decide where to place a single button.
It's legitimate to say that the gameplay in something like Mass Effect is simple, but don't assume that actually making that gameplay, is equally simple. Just because a game's mechanics aren't obviously complicated doesn't mean there isn't just as much going on behind the scenes that isn't exposed to the player and doesn't have to go through the wringer.
Star Wars is not science fiction. It is a fantasy western set in space. Stars outside the window != sci fi.ever said:I haven't played the two Mass Effects.
Am I missing out on anything? I don't really like any non Star Wars science fiction. Mainly because of the music. So if Mass Effect has similar music to that found in Star Wars you should inform me cause its the deciding factor.
I've been working on a large mod project for the last six months and have several years' experience doing my own level design work across various game editors, which I've been using for close to a decade. I have no professional experience, but I hope to change that in the future.MetalCraze said:I take it you can enlighten me on a game development as you've done a lot of it?
Sarcasm aside, you're still oversimplifying. To take your example of a typical level from Mass Effect...MetalCraze said:A random console shooter level can be designed in paint in under 2 minutes. Then you just copy paste it 100 times and you have your 8 hours long shit shooter like Mass Effect. Just get some artists to draw different textures for the same box.
http://s015.radikal.ru/i332/1107/a7/72bd54d99657.jpg
2 minutes and the superawesome 10 minutes of gameplay are ready!
I'm now seriously considering getting a lead game designer job at Epic/Bioware/Activision/EA
Black said:I can't wait for tasteless Codex fags to install that EA piece of shit system and bioware piece of shit game
Wow you've worked with in-game editorssea said:I've been working on a large mod project for the last six months and have several years' experience doing my own level design work across various game editors, which I've been using for close to a decade. I have no professional experience, but I hope to change that in the future.
The cloned gameplay from GoWWhat makes them work?
Not a single ME level is built with anything in mind. Every single level in ME has the exactly same enemy hiding behind the exactly same box. The only difference is the model and that your weapon now deals 40 hp dmg to 200 hp enemy instead of 20hp dmg to 100 hp enemy like before.How many enemies in each? What type? What is their intended relative strength to the player, as expressed in previous design iterations and documents? What weapons and techniques is the player equipped with? Have you built the level with these in mind, and if so, how?
Nothing makes them different bro. There are no elevations, no multiple paths. It's just the same fucking corridor where you do the exactly same thing. Point your crosshair over the enemy's head and press X from behind another box while hitscan does the rest.How do these individual encounters as a whole relate to the larger game? Are there any puzzle or other elements in between? Have you considered adding multiple routes, multiple levels of elevation for greater variety and freedom? What sorts of things do you want to communicate visually during this section of gameplay, and what can we learn about the narrative and characters? If there is dialogue, how many lines, and where does it occur (or is it triggered by something else)? Are there any mission objectives, and how do they tie into the game at large? Do these scenarios favour long-range tactics, short-range tactics, or a blend? Will there be any special constraints put on the player during this section of the game, and if so, do these fit with the overall game's tone and play style? What are the movement speeds of the enemies encountered? How frequently do they attack? What tactics do they use? What weapons are they equipped with? Are there any bosses? If so, what makes them different?
this is a massive multi-million-dollar production requiring the talents of hundreds of people working over the course of years, out of necessity for realising the game as intended - whether or not it's actually any good is a secondary question.
Black said:
I can't wait for tasteless Codex fags to install that EA piece of shit system and bioware piece of shit game
sea said:Arguing with Skyway....
sea said:I've been working on a large mod project for the last six months and have several years' experience doing my own level design work across various game editors, which I've been using for close to a decade. I have no professional experience, but I hope to change that in the future.MetalCraze said:I take it you can enlighten me on a game development as you've done a lot of it?
Sarcasm aside, you're still oversimplifying. To take your example of a typical level from Mass Effect...MetalCraze said:A random console shooter level can be designed in paint in under 2 minutes. Then you just copy paste it 100 times and you have your 8 hours long shit shooter like Mass Effect. Just get some artists to draw different textures for the same box.
http://s015.radikal.ru/i332/1107/a7/72bd54d99657.jpg
2 minutes and the superawesome 10 minutes of gameplay are ready!
I'm now seriously considering getting a lead game designer job at Epic/Bioware/Activision/EA
What makes them work? How many enemies in each? What type? What is their intended relative strength to the player, as expressed in previous design iterations and documents? What weapons and techniques is the player equipped with? Have you built the level with these in mind, and if so, how? How do these individual encounters as a whole relate to the larger game? Are there any puzzle or other elements in between? Have you considered adding multiple routes, multiple levels of elevation for greater variety and freedom? What sorts of things do you want to communicate visually during this section of gameplay, and what can we learn about the narrative and characters? If there is dialogue, how many lines, and where does it occur (or is it triggered by something else)? Are there any mission objectives, and how do they tie into the game at large? Do these scenarios favour long-range tactics, short-range tactics, or a blend? Will there be any special constraints put on the player during this section of the game, and if so, do these fit with the overall game's tone and play style? What are the movement speeds of the enemies encountered? How frequently do they attack? What tactics do they use? What weapons are they equipped with? Are there any bosses? If so, what makes them different?
Once you've answered those questions, please enumerate them in full and complete detail, per the specifications and format laid out by the rest of the design team, and express precise numerical values of all variables that are relevant to the situation. Please also provide an estimate as to how many new art assets would be required, how much unique scripting and programming is required, new sound effects, voice-over, etc., as well as an estimate as to the number of staff required and hours, weeks or days required, and set up a milestone timeline for implementing all of these in an efficient and economic manner that fits in with the overall project's goals.
But hey, it's not like the programmers can't take the time out to do all that when they're already working 12 hour days, right?
(And no, for the record, my goal isn't to devalue the work done by others; programmers, artists etc. have more than enough shit to do and unique challenges to face. But when you're dealing with huge and highly specialised teams within a tightly managed structure, dedicated design roles have more importance and are necessary to keep things moving smoothly... and being a good artist, programmer, writer, audio engineer, etc. doesn't mean you're any good at design and all of its challenges. If you are, well, then that's great, go make something awesome).