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Reflective blog post of Mysterious Mines game

Work In Progress Update

Progress for this game was slowly paced at first, as I didn’t have a direct goal for the game or gameplay elements to add to it. Upon further developing the first room I decided puzzle rather than horror was the way to go, even though it keeps a bit of tense atmosphere in areas. This choice follows up with a lot of inspiration from classic Zelda puzzles and a build up to them in a sense.

The themes were tombs and tunnels combined, as I wanted to experiment in this natural building, rather than stick to what I know in manmade, easier structures (although they are within the tunnels). The games aura is meant to be very mysterious (hence the name) based in mining tunnels, that are based around yagura tombs (natural Japanese tombs to sum them up). This took a bit of trial and error to get the caves looking realistic but in the end, I think I achieved this.

Mechanics wise, the game focuses on puzzles, so I was always considering how the player would react; would it be too straightforward or too complex? Towards the end where I was the only playtester, many others who played it helped me see errors previously not noticeable, and helped me polish up the game.

What went well and what did not?

To start with; what went well. I think most of the game went well by the end honestly, but to specify and start with mechanics. Since this project was where I really started to learn more in unreal, and have fun building it, making me devote extra time and thought into it. Things like adding an emission to mine cart handles when you can interact with them, making it more obvious. These were polishes added to the game, that wasn't necessarily needed but helped it become a better game. The lighting as well was thought out throughout. Even little things like trees hiding light to an area you shouldn’t go to yet, down to the positioning of them and the sun. Towards the final area with the puzzles, the architecture was done In a way that I think made it more understandable what to do. From returning to the main room after each puzzle, you get a sense of what must be done to climb the ladders (as they are pulled up if you try climbing them before the puzzles).

Now with what didn’t go as well. I believe the organizing, in general, would’ve really helped if I were to do this again now. The overuse of the level blueprint, although it worked, it complicated the blueprints making them messier and confusing to work with at times. I did my best to organize them, but it still is a lot to look at and understand. The story could also have had work done to it, as the gameplay, in my opinion, portrays that there is a deep story to this, and with enough development on it, I feel like there could be, but so far that area is very basic.

What would I do differently next time?

Through this project I have probably not only learned the most I have in unreal so far, but also had the most fun in it so far, and I believe it shows, in the amount of time put into creating this and the amount of polish added to the game. What I would do differently next time is a tricky question to ask, but I have realized through this project that organization really helps not only stability of a level but also in the long term, as you may be confused returning to this level. Also, real companies don’t just have one individual working the engine so the organisation would help for feedback between these problems faced. Things like the layout for this were extremely difficult at times, especially with the complex mine cart puzzle where everything in a sense is interacting with each other.

The way I researched could also be done differently, as I was working on the project things did change, however getting a good start will always be beneficial even if things still change later on (and they most likely will). Primary research is another prime reason as my theme was very specific and getting any primary research wasn’t exactly possible. Although I was happy with the amount of research I had though, developing on it with more specific ideas would’ve helped me develop faster and even more ideas, and the game could’ve been more associated to the tombs, as a majority of it is related to the tunnels.

Overall, I believe errors were definitely made in this game, but the devotion and polish I added to the game more than makes up for it. I really enjoyed seeing this evolve more and more as I decided to add more to it, without going too overboard and ruining it.

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Environment Video

https://twitter.com/ryandon111/status/855530261219602432

Video was too large for Tumblr.

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XB2178 Evaluative Report

Evaluative Report

To start with, recapping the initial project plan and Gantt chart. My initial idea was honestly too large, as I was aiming at creating these mechanics (wish is not only the field I don’t want to focus on) but also creating these characters, in the end, I only ended up focusing on mechanics for the game. As the risk analysis points out, this project definitely tested me and the blueprints were a lot more consuming than I could have ever realized, due to my understanding with them. And although I could’ve structured them better, I do believe I have learned a lot for blueprints and did actually in a sense accomplish my mechanics goal I was aiming for, with the AI working and player mechanics working. As for the Gantt chart, this was my first experience with one and combining that with the type of project I chose, it was extremely difficult to keep up with and added more stress than the assistance it is supposed to give.

Rather than create anything story heavy, I decided to focus this level on an arena focused mode, which consists of a few waves of enemies breaking through walls the roof and even the floor, in an increasing difficulty, which estimated lasts about two minutes. The main goal behind this was to show a potential for this game in an arena setting, where you are the mutant forced to fight wave after wave of enemies, but also to show off the mechanics that are here, mainly how the combat changes once you are damaged to the point of losing both arms. Due to difficulty and to influence the idea of an arena mode further, I decided to add a heart pick up in the center, which can only be picked up under full health and always restores your health to the max, but once picked up takes 20 seconds to recover. Although the combat the combat is not as intuitive as it could be, I tried adding other mechanics which helped make this more fair, and complex in its own way.

To start with is the obvious one, that helps relate this game the most with my game design document; the regenerative arms. Removing them was simple enough, as you only had to hide the main arm bones, but the complicated part was making the game know when to do less damage and then stop punching altogether. It was at this part where I learned a lot from individual learning and developing what bits I already knew in the engine. By creating a bunch of different rules that the blueprints will follow, I could control when you do half damage or no damage. This took lots of experimenting in the game to figure out what made it most fun, as I’m of course aiming to have a nice gameplay in this. In the end, an over the top feel was what I went for, over exaggerating things like punches, losing limbs and even killing the enemy or dying yourself, as you go into ragdoll (all with explosions). This gave the human reptilian less of a serious appeal and one that I more enjoyed working with. This appeal is what helped me create the arena level as well; the enemies blasting through walls to surprise the player and keep them on edge in the dark room. Further mechanics I decided to add were movement speed, as I made the enemies just slightly faster so they will always catch up to you, but I then added a sprint, giving you a chance to get away or run to the health pick up.

To summarize my project aims (removing the idea of developing in 3D as I believe this was too ambitious) I believe I learned a lot for blueprinting in unreal, and all my aims were done to a satisfying level. This did help me in a lot of individual ways for developing, pacing and problem solving, as there was a lot of problems that I had to surpass and I believe I have. Negatives that I have faced and can improve on in the future are how movement is not required of forced onto the player, so combat can be quite stiff or even easy if exploited. A way around this would be to add more combo orientated combat, which stuns in the attacks, so that both can’t continuously attack (or at least the player can’t).

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Research Blog DD2000

To start with, the definition of a ‘prop’.

The term prop, which is short for ‘property’, first came from theater and as Wikipedia describes it as:

“..an object used on stage by actors to further the plot or story line of a theatrical production. Smaller props are referred to as “hand props”. Larger props may also be set decoration, such as chair or table. The difference between a set decoration and a prop is use. If the item is not touched by a performer for any reason it is simply a set decoration. If it is touched by the actor in accordance to script requirements or as deemed by the director, it is a prop”.

Also Kendall Walton, in his discussions of make-believe, discusses props as “generators of fictional truths, things which, by virtue of their nature or existence, make propositions fictional.”

So basically, a prop is an object intended for actor interaction.

Key Designers

3 3D artists I looked into were Jonas Ronnegard, Alexey Pyatov and Andrew Averkin, who all have done props but also focus in a lot more varied 3D art (which is the best thing to do in my opinion). I decided to focus on their art stations as this is a great free platform to not only see artist’s work, but also contact them and help with getting into the industry, and there are a lot in the industry that are on art station (these three included). I have also attempted to get in contact with these artists with my own questions to get a bit of personality, the challenge they may have faced and work they have been involved in, as well as all advice they may give.

The questions I provided were as follows:

Q1: Have you worked on any game projects and if so could you name some of the challenges you faced/ overcame?

Q2: What artwork did you do before 3D, and what inspired you to move into this platform?

Q3: How long have you been working in 3D, and do you plan on any further advancement/ currently developing?

Jonas from https://www.artstation.com/artist/jronn was the first to reply and he has this to say:

“Thanks for the email, found some time to write you a response, hope my answers will suffice.

Q1: I have worked on games such as

Halo 5  Resident Evil title  Dragon Quest XI  Bio shock Infinite  Battlefield 3  Armoured Warfare  The Secret World  Drag-on Dragoon 3

Q1: I guess any kind of work comes with a great amount of challenges but for game developers starting out at AAA studios you really need to be able to to produce from day 1, so many of us that do come into the industry have probably spent a lot more time learning what they know than most people working in other industries. Some mistakes I did during school as well as my first years in the industry, was to not sleep properly, I thought putting in a lot of time was the answer to anything, but a sleepy artist just makes mistakes especially since our job gets more technical by every project, so make sure to sleep and do work with a fresh mind. Make sure to ask questions and listen to what senior people say. It can be scary asking questions thinking the answer might be obvious, but problems that might occur by guessing your way out of problems will be even scarier. Q2: I guess I did paint and such just like any other child, but my first real studying towards art was when I started studying 3D art in High School. I first wanted to work with movies but later changed my mind since developing for games seemed a lot more fun to do. Lately, as game art creation has gotten a lot closer to movies I have been able to do some work on pre-rendered projects as well though.

Q3: I guess I have been working in 3D since I was 16 years old, so about 14 years. I currently do all my work from home, creating tools for other artists, as well as I'm freelancing for Nvidia and Irrational games.

Good luck in school, and hope to see you in the industry in a couple of years.”

Andrew from https://www.artstation.com/artist/averkin next replied with this:

“Thank you, I really appreciate your kind words about my work!

Please, see my in red:

Q1: Have you worked on any game projects and if so could you name some of the challenges you faced/ overcame?

I was working on Dropzone and on few small projects in my past. I had the same challenge as everybody who starts learning something - the process of learning. I was just learning all days and nights, training and training in all areas of CG, doing it for my soul. Time - it is the biggest challenge. 

Q2: What artwork did you do before 3D, and what inspired you to move into this platform?

I was trying to draw a little bit before starting my journey in the CG world. Movies and games were my inspiration.

Q3: How long have you been working in 3D, and do you plan on any further advancement/ currently developing?

Currently, I am working on my personal game project called Utopa and it is something that I am doing almost every day and it is something which I can name "my baby". It is hard to describe something specific or some specific problems because every day actually is a challenge when you are doing art directing of all project.

Thanks again, I wish you good luck in your study!”

Sadly I have still had no reply from Alexey Pyatov at https://www.artstation.com/artist/karanak

Job Prospects

After looking through listings for jobs, videos and sites, I can see that being a prop artist is probably one of the most common roles and therefore there is a lot of competition. My work will have to stand out, be creative and generally have a more professional look to it. Go that extra mile, learn more of other software’s etc. A prop artist must also not mind doing what is asked and required as unlike characters, there are many needed props and again unlike characters, props need to be less detailed so many can be added, giving challenge as you need to learn restrictions of what you make and how much it may be used.

Upon receiving info and advice from talented 3D artists who have been in the industry, I can see that things like sleep are very important, as I myself can have bad sleeping patterns, which doesn’t help overall for concentration and even motivation. As I have already done with these, asking questions can never be a bad Idea and can help inspire new things as well as getting new contacts, which will equally help in joining the industry. A big pointer is how in AAA studios, you need to be able to produce from day one. So in my case, I will need to know how to make the models to a similar art style and low enough size, as well as functionality in an engine, like any animations optionally or collisions etc.

As for what I want, I will focus on developing my 3D modeling skills in general, learning more about programs such as ZBrush and 3dsmax and also learn more on environmental art and even architecture as all props are part of an environment, and having a good understanding of an environment will greatly help. An optional addition as well will be to look into physics in general, as I don’t know that field yet and physics can help add life to a prop.

The Importance of Engaging Portfolios

Portfolios alone are of high importance when showcasing any work, and this as well as personality will usually be the deciding factor of who gets the job. But for all artists alike (including prop artists) a more engaging one is essential. Giving the models a professional feel with correct lighting,  angle and composure can help make an average model look professional, but the same can go the other way; if a great model isn’t shown off or engaging enough, it can look average at best.

A portfolios presentation and layout can even show the way an individual works, and each type of artist will have different layouts. So as a prop artist, I would need to focus on both high and low poly models, while showing the wireframe, different angles, and detailed focused shots.

But the most important thing that I’ve seen through all the portfolios is consistency. A big thing that many forget to keep and consistency helps define a person’s work making it not only more professional and fluent but also nicer overall to look at, once bundled together. This consistency can also add personally to your already personal work (certain marked backgrounds, or borders etc). This can help with a website's design as websites can be a part of your digital portfolio, which in many cases is more important as it can be accessed simply through the internet.

Tor Frick - A low-poly/optimization master who recently made waves, creating an incredible game level with a single 512px texture sheet. His website http://www.torfrick.com/ clearly shows ‘consistency’ as you see the simple design, showing pictures throughout in a squared-off grid fashion. All his pictures also have consistency, showing close-up, detailed angled shots of all of them.

Now compare Tor’s website to Joseph Drusts http://www.josephdrust.com/  who focuses on hard surface z brush models. From the top down you can see he has gone with the simple design again, but the way his work is presented clearly isn’t simple. Rather than categorise it, all the digital work is together, throwing off balance this consistency and the detailed background image doesn’t help with focusing on specific pieces. Overall my only suggestion would be to categorise his work in a simple manor as well as consider a different background, but to compare both Tor and Joseph’s websites, we can see which one looks more professional.

Key Games

One game in particular defined how games can make uses for props as a whole. This game is The Legend of Zelda series, specifically the first Legend of Zelda, where props came in many uses from the iconic weapons as an example.

The design behind everything to this game was important; to help influence and push the player to use each and every prop they obtain. You start off with a sword (if you choose to) giving you only one mechanic, but this was the first game to make props so interactable, giving you brand new mechanics and abilities with each weapon you obtain from the dungeons you face. This also helped push what open world games are today, and props in open world games are extremely important as they give life to the environments you see. The Legend of Zelda is no exception, being the first to do this with props, adding hidden props to the world as a puzzle as an example. This game may of not been considered the first open world game but its use of gameplay and how props can be used in an open world setting.

Grand Theft Auto managed to take this open world a step further with a number of props available from the very moment you start. The top down view was a clear resemblance to The Legend of Zelda, with a more 3D approach. Although controversial, this game helped give even more life to the open world genre with the fully interactable city you are in, from a variety of vehicles and weapons this game gave lots of props and interactions for the player to explore and basically have fun with.

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Things to do for Research blog + Presentation hand in

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Project Weekly Blogs: Update 2

Since the last update, I have developed a lot on the core skills and blueprints, and even though there are still problems, it has become a more realistic goal. I have worked a lot on the character core mechanic, that being the arm loss and regeneration, as without this the game will not relate to my idea. Through this, I have learned more about how I can use booleans and this has helped me set rules for my characters arms regenerating, as well as the damage he will do.

Using branches for truth and false paths, I have set up the arms to know when they are alive, therefore doing either half damage or no damage (and no arms will pause the animation as well). This then links with the regeneration, as once the arms come back so will the damage.

Overall, booleans and knowing more about them has helped drastically and using booleans I know how I can develop the combat, once I figure out the camera controls and locking on to enemies by rotating the camera to face them on command. Basically, the booleans will know which character is locked onto and only damage them, giving the combat more meaning with multiple enemies.

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3 Beauty shots of my Chain Sword model, textured in Substance Painter 2

https://skfb.ly/ZVNL     Link to the SketchFab page + the animation.

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Chain sword fully made from sketch, concept highly inspired by War hammers Chain swords, and the idea to make one originated from the idea of looping a quick animation seamlessly. Chain was all originally connected but the animate easily i separated it all, moving individual parts in the animation. The glass on the front is currently solid but will be made transparent through substance painter and the final image show the different areas i will texture more simply, by highlighting them with obvious colors.

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Initial reseach into chosen themes for my level design, based on tombs and tunnels. I’ve gathered a quick variety of both, to expand upon in more research. Since this will be my level design, i’ve also gethered some games, that create both tombs and tunnels very well.

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DD2000 Proposal

During college I’ve always inspired towards joining a games design course in university as I originally thought of games art but decided this was the better option. Throughout using engines/the programming aspect, I’ve realised how uniquely challenging this is to get used to, and even now I struggle with some simple things and as much as I obviously don’t mind challenge, I don’t feel that this area is for me. That being said, I will still aim to learn more, but feel like 3D is more towards my enjoyment, skill set and long lasting job for the industry. However this is just the basis of 3D, I will have to look into more specifics. I think I would like to go into a AAA Company, working in some form of 3D, this project will hopefully put me looking in a more specific direction. I don’t mind ‘being told what to do’, at least for the time being, and in 3D specifically have enjoyed creating in general.

Things I will look into to start with are all the areas that are available in 3D, to give me an idea of the 3D industries scale. Sources I will look towards are the internet, books that can relate, news articles and even contacting industry members. I will look into individual job roles in 3D, and how each differs in requirements, needs for them and popularity. This will give me an idea of what’s most common, and therefore more difficult to get into.

More things I can try to get more information is contacting actual 3D modellers, or anyone in the games industry for things like simple questions, questionnaires or even their experiences/requirements. This will help me with gaining insider knowledge to what kind of work these people face, so a 3D modeller would be ideal.

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Project Weekly Blogs: Update

So far, creating this game has been extremely challenging and pushed more than originally expected. I have managed basic accomplishments to start the structure of the playable level, but these basic tasks have lead to more problems than solutions i would say. Firstly, i have created a layout and blueprint for my characters health, as also shown at the top. I have then made a simple AI enemy, whose task is to follow me once I have been spotted. Once he is close enough to my character, he will inflict damage to me, until my HP reaches 0, where the game will then end. I have even added animation to my characters punches, yet still trying to figure out how to add health (and therefore damage) to the enemies, as this was done for my character using the game mode perspective.

As for problems, Upon making these I've realise how much will counteract in the game, and how complex this really can get. My initial idea was to make a simple fighting level, where you fight the enemies presented to you in a city type of layout, with a twist (the twist relating to my game concept ‘The Human Reptile’). Many of the problems not helping would be combos to add for variety, blocking and flinching/force to the punches.

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XB2001: Project Overview Blog

In this project our group first thought about a theme we could all happily take on; something that we could all do. We came to the decision of a simplistic cartoon theme. Using this we thought of ways we could add fun gameplay into a banks robbing game, and eventually went with the idea of having two characters that you control separately; the brute and slink. The brute was designed to being a large top heavy character whereas slink was skinny and slim. This was designed by the classic criminal duo, one large and one small, with slink being more intelligent than brute. The aim of the game was deliberately largely thought out, so that we could condense it down into a small prototype that had a lot of features. For example, we initially thought out a car chase scene, where you control both cars simultaneously adding challenge, but this was scrapped due to time. All these ideas helped our group focus on a specific challenge and focus of the game. Our game ended up being of the one scene; robbing the bank. Both characters will have different unique features that will be needed to succeed, like the brute can smash through walls and slink can crawl through pipes. The intentions and the actual final product are very different in this game, mainly due to time and knowledge. Overall, I believe a majority of our team communicated very well, transferring content over Google drive in a shared folder.

 To go more into my role and intentions, I was placed into the role of making the characters, and at first I did the brute in what I believe was too detailed and a higher poly than necessary, resulting in him taking the longest. The characters after this got more and more simple, making sure they were still recognisable, and surprisingly my favourite model, which was the 2nd quickest to make was the pedestrian. I liked his simplicity and the way his full model felt very much like a real caricature. As for the animating I was happy to learn more into it with characters, and I ended up looking into mainly the joints, how to lock them in areas and how to bind these joints to the skin. The main issue with this was the irregularity of the characters movement; some areas would stretch too much and joints would move more areas than wanted. Overall it was fun to play around with but challenging to get working. Once the animations were made the real challenge was implementing these into unreal, and as much research and help I found online, there was no way I could figure out how to add the skeleton into unreal (maybe it was the way I made it from the beginning?). So by the end, I got all characters into a normal standing position to move around in a static form for the game, which still works well, and even if the animations were added, another challenge would’ve been figuring out how to play them perfectly and in the direction of movement.

 As for the finished game result, the work put in shown, as the small bank area we all created had a lot of detail added into it, with the amount of props, and overall/ layout design of the area. It’s a very solid prototype, with obvious areas for improvement, but the game is fun and in my opinion has potential to be developed more with even more bank scenarios created. The premise of the game was to switch between two characters to control; one was the brute, a top heavy character that could knock back enemies, destroy walls and pick up the main source of cash. The other was the slink; a faster moving, lanky character that could reach higher places through vents, access computers to open doors for the brute, and be able to pick up diamonds. The finished result was to reach the vault, by overcoming the area and being able to plant dynamite at the door, without any guards catching you. To continue this idea, that we never were able to do, after obtaining the cash, you control brute and slink in independent cars, as you race away from the bank. You will be dodging police cars, collecting even more money by driving over it, and ramps for boost. Overall, the game play and challenge is there, and this offers a lot of possibilities for a full game to be made.

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Relating to the new ideas of a mechanical high poly ‘chain sword’ kind of model, here are 3 very sketchy but designed ideas, with the final one made above, merging some ideas from all three. These designs all hold together the idea of having a chain as part of the weapon, with the circle resembling a mechanical wheel, which will help pull the chain through from where it exits and enters. This design is trying to merge the idea and usefulness of a chainsaw, while going with a sword type of design. The original thoughts obviously went towards the series war hammer, with their chain swords, but hopefully i’ve developed that into a more mechanical and unique weapon, which i will follow up on trying to make into a high poly model.

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Essay Research Blog

This shows the Zelda series, comparing the first game to one of the most recent ones, giving an idea of our progression in how we play, and how games also adapt to the newer gamers.

This chart resembles the sales for the top 3 entertainment industries sales, showing how games are overall above.

To start with, David Perry’s TED talk on ‘Are games better than life?’ specifically show how technology in games how evolved and quickly grown in its short lifespan, but can also relate to how technology in general has grown, in the past few years. This talk then went into how  contemporary design in video games has changed, from being mere elements of play to art pieces, with storytelling and design within them as the industry has evolved and expanded what a video game truly can be. “The beauty of video games today lies not in the lifelike graphics, the vibrating joysticks or virtual surround sound. It lies in that these games are beginning to make me emotional. I have thought in wars, feared for my own survival, watched my cohorts done in beaches that look and feel more real than any text book, or any national new story. The people who create these games are smart, they know what makes me scared, excited, panicked, proud or sad; they use these emotions to denationalize the worlds they create. A well designed video game will seamlessly weave the user into the fabric of the virtual experience.”

‘Human by Design Documentary – Redefining the Future of Mankind’ also shines light on how our world could look in the future with the help of how technology is evolving for us, so we as humans have no real need to change. Although this may not directly relate to games, the media behind it does, showing the new ways we are figuring out how to use technology for beneficial reasons, similar to how games could and have already started using educational aspects. Drawn to life is a good example of this, by teaching children of an early age about creation, creativity and personification into the game, by having the ability to draw almost any object within the game.

Evidence shows how the games industry is quickly becoming bigger than movies and film itself, with its sales per year of both 2013 and 2014 topping video and doubling music, showing how far the industry has come, and will continue to go forward, hopefully expanding new designs, ideas and ways of gaming.

The final used research goes into another TED talk, with Jane McGonigal talking about how she believes gaming can make a better world. The main points she states with this are how the community dedicate more time into games than any other media, and how if designed correctly/ for the right cause, games could help make gamers use this time for more real world problems, and how games are even finding ways to coneect to third world countries using mobile broadband, opening the industry up to more people, and showing how games will and are constantly changing how we interact with them, through new software, technology and designs.

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New ideas for a high poly model, involving a weapon, and also a steampunk, mechanical look. Mainly looking into ways to animate as well. Notes added for potential ideas/ first thoughts.

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Brute Character Progress

1. Began working on head, building main eyebrow features and head shaped.

2. Built around face, outlining fully.

3. Finished off all major feature on head, edited chin to be more squared, smoothed full head for example.

4. Got the shape of chest sorted, aligned ready for arms and lower body.

5. Hands made, giving separate face for finger movement.

6. Full top of Brute done.

7. Full model made and adjusted proportions.

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Project weekly blogs: Week 1 + 2

Week 1 was spent updating Gantt chart to a more realistic and challenging timeline, with more logic added to it. I will now start with blueprinting, which research automatically comes with. This has technically begun in week 2 where I have researched into how I can damage and receive damage, while I overall looked into a basis of research and links needed. I have been challenged as to how the blueprints form, but I have only began and plan more into researching.