I downloaded multiple items from BlendSwap for the game and also met with Harsh to brainstorm about ideas for the layout of our game poster.
Saturday, November 8, 2014
Homework 14.2: Team Contribution
This last week and a half, our team met after class and at Dirac library 2 to 3 times. Most of our discussion surrounded the game poster and more objects we needed to download from BlendSwap for our game. We also talked about ways to simplify our game.
Friday, November 7, 2014
Homework 14.1: Indirect Control
There are different ways in which indirect control is manifested in our game. A few ways are described below:
1. CONSTRAINTS
Constraints are introduced into our game in a number of different ways. One way in which they are enacted is in relation to the weapons available to the player. The player can choose from a varied but limited collection of weapons, and based on the enemy that is attacking, one weapon may be ideal over the other. For example a knife may be used against a ground enemy, however a flying enemy would be best fought off with the gun.
Also, when night falls, the player is given a choice to either fight through the night against enemies to find the father with a greater chance of undetected attacks, or to seek shelter and wait until the morning to continue the search effort.
2. GOALS
One set of goals in our game revolves around finding clues that help lead to the discovery of the abandoned father on the island. The finding of these clues can be used by us as the designers to direct the path of the player in his search. The player can still follow whatever path he or she chooses, but we know that most likely, the path determined by the discovery of the clues will most likely be followed by the player.
3. INTERFACE
The interface will in general not be a medium through which we exert indirect control.
4. VISUAL DESIGN
There are certain visual aspects that will be implemented in our game that will indirectly control what the player does in certain situations. One example is our use of color or radiance emitted from a door to distinguish it from others to signify that it is a door that can be entered or broken into. This may be used to distinguish objects or clues that may be picked up from random debris on the ground.
5. CHARACTERS
The main indirect control method as it relates to our game simultaneously acts as the main objective of the game: Alexander's father. Time is against our main character considering the fact that the longer the player takes to find the father, the more likely the father will be in poor condition when he finds him. Aside from that, when the player finally does find the father, the player still realizes the priority of securing the father from vicious attacks by animals. For instance, on the way back to the boat, if the two are confronted by an enemy which starts to try to attack the father, we as the designers know that the player will immediately go to the rescue of the father, as he is capable of being killed as well.
6. MUSIC
We haven't established what music we want to include in the game, however environmental and ambient sounds will be used in the game for various reasons. Obviously, one reason is to give the game a sense of realism. Another could be to allow the player to use the sounds to be aware of a certain presence in his vicinity. For instance fast foot steps could signal an impending attack in which we as the designers would know that the player would probably choose a weapon to prepare to fight. Flapping sounds may signal an attack from above by a flying enemy. Slower footsteps may signal that the father is close, which would encourage the player to search in that immediate vicinity for the origin of the footsteps.
Music may very well be included in our game, given we find a good point of balance between the music and ambient noise. The type of music could be fast and adventurous sounding, subconsciously evoking a sense of urgency in the player to complete the main objective of finding the father.
1. CONSTRAINTS
Constraints are introduced into our game in a number of different ways. One way in which they are enacted is in relation to the weapons available to the player. The player can choose from a varied but limited collection of weapons, and based on the enemy that is attacking, one weapon may be ideal over the other. For example a knife may be used against a ground enemy, however a flying enemy would be best fought off with the gun.
Also, when night falls, the player is given a choice to either fight through the night against enemies to find the father with a greater chance of undetected attacks, or to seek shelter and wait until the morning to continue the search effort.
2. GOALS
One set of goals in our game revolves around finding clues that help lead to the discovery of the abandoned father on the island. The finding of these clues can be used by us as the designers to direct the path of the player in his search. The player can still follow whatever path he or she chooses, but we know that most likely, the path determined by the discovery of the clues will most likely be followed by the player.
3. INTERFACE
The interface will in general not be a medium through which we exert indirect control.
4. VISUAL DESIGN
There are certain visual aspects that will be implemented in our game that will indirectly control what the player does in certain situations. One example is our use of color or radiance emitted from a door to distinguish it from others to signify that it is a door that can be entered or broken into. This may be used to distinguish objects or clues that may be picked up from random debris on the ground.
5. CHARACTERS
The main indirect control method as it relates to our game simultaneously acts as the main objective of the game: Alexander's father. Time is against our main character considering the fact that the longer the player takes to find the father, the more likely the father will be in poor condition when he finds him. Aside from that, when the player finally does find the father, the player still realizes the priority of securing the father from vicious attacks by animals. For instance, on the way back to the boat, if the two are confronted by an enemy which starts to try to attack the father, we as the designers know that the player will immediately go to the rescue of the father, as he is capable of being killed as well.
6. MUSIC
We haven't established what music we want to include in the game, however environmental and ambient sounds will be used in the game for various reasons. Obviously, one reason is to give the game a sense of realism. Another could be to allow the player to use the sounds to be aware of a certain presence in his vicinity. For instance fast foot steps could signal an impending attack in which we as the designers would know that the player would probably choose a weapon to prepare to fight. Flapping sounds may signal an attack from above by a flying enemy. Slower footsteps may signal that the father is close, which would encourage the player to search in that immediate vicinity for the origin of the footsteps.
Music may very well be included in our game, given we find a good point of balance between the music and ambient noise. The type of music could be fast and adventurous sounding, subconsciously evoking a sense of urgency in the player to complete the main objective of finding the father.
Thursday, November 6, 2014
Homework 13
On Thursday, November 6th, Harsh, Heather, and I met at Dirac library to discuss and edit our game poster and game document.
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