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Search - "tlou"
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In game development feature creep tends to kill games because it's just as much about what's NOT there as what IS there.
Take The Last of Us for example. Would a strategic tower defense segment make sense? No? And if it was a *hugely* popular mechanic at the time of development is there a real chance they would have included such a segment in TLOU? Yes.
Don't just believe me. Go take a look at what happened to the original Fortnite versus the hills-have-eyes inbred offspring that it became all because PUBG and its format were cancerously mega popular at the time.
That's why while developing my game Atom Ranger (now with 100% less multiplayer!), a mix between metro and don't starve, I spent six years *pruning* features. You can click my referral link and get 50% off the opportunity to become an unpaid tester of the pre-prealpha right now, "for hardcore players only!" (Tm)
My game:5 -
This is the last time Microsoft! I'm getting my old Arch image out and removing you from my life forever! Never again will my linux distro randomly uninstall itself without telling me in the middle of implementing new components and crash my development server. Never again will I have to deal with an update that refuses to STFU and go away until I, ME NOT YOU MICROSOFT, decides it's a good time to run the update. No more lack of customization and poor support of common dev tools. I'M DONE WITH YOU, WE NEED TO SEE OTHER PEOPLE.2
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Headsup: if you're making a game, or want to, a good starting point is to ask a single question.
How do I want this game to feel?
A lot of people who make games get into it because they play and they say I wish this or that feature were different. Or they imagine new mechanics, or new story, or new aesthetics. These are all interesting approaches to explore.
If you're familiar with a lot of games, and why and how their designs work, starting with game
feel is great. It gives you a palette of ideas to riff on, without knowing exactly why it works, using your gut as you go. In fact a lot of designers who made great games used this approach, creating the basic form, and basically flew-blind, using the testing process to 'find the fun'.
But what if, instead of focusing on what emotions a game or mechanic evokes, we ask:
How does this system or mechanic alter the
*players behaviors*? What behaviors
*invoke* a given emotion?
And from there you can start to see the thread that connects emotion, and behavior.
In *Alien: Isolation*, the alien 'hunts' for the player, and is invulnerable. Besides its menacing look, and the dense atmosphere, its invincibility
has a powerful effect on the player. The player is prone to fear and running.
By looking at behavior first, w/ just this one game, and listing the emotions and behaviors
in pairs "Fear: Running", for example, you can start to work backwards to the systems and *conditions* that created that emotion.
In fact, by breaking designs down in this manner, it becomes easy to find parallels, and create
these emotions in games that are typically outside the given genre.
For example, if you wanted to make a game about vietnam (hold the overuse of 'fortunate son') how might we approach this?
One description might be: Play as a soldier or an insurgent during the harsh jungle warfare of vietnam. Set ambushes, scout through dense and snake infested underbrush. Identify enemy armaments to outfit your raids, and take the fight to them.
Mechanics might include
1. crawl through underbrush paths, with events to stab poisonous snacks, brush away spiders or centipedes, like the spiders in metro, hold your breathe as armed enemy units march by, etc.
2. learn to use enfilade and time your attacks.
3. run and gun chases. An ambush happens catching you off guard, you are immediately tossed behind cover, and an NPC says "we can stay and fight but we're out numbered, we should run." and the system plots out how the NPCs hem you in to direct you toward a series of
retreats and nearest cover (because its not supposed to be a battle, but a chase, so we want the player to run). Maybe it uses these NPC ambushes to occasionally push the player to interesting map objectives/locations, who knows.
4. The scouting system from State of Decay. you get a certain amount of time before you risk being 'spotted', and have to climb to the top of say, a building, or a tower, and prioritize which objects in the enemy camp to identity: trucks, anti-air, heavy guns, rockets, troop formations, carriers, comms stations, etc. And that determines what is available to 'call in' as support on the mission.
And all of this, b/c you're focusing on the player behaviors that you want, leads to the *emotions* or feelings you want the player to experience.
Point is, when you focus on the activities you want the player to *do* its a more reliable way of determining what the player will *feel*, the 'role' they'll take on, which is exactly what any good designer should want.
If we return back to Alien: Isolation, even though its a survival horror game, can we find parallels outside that genre? Well The Last of Us for one.
How so? Well TLOU is a survival third-person shooter, not a horror game, and it shows. Theres
not the omnipresent feeling of being overpowered. The player does use stealth, but mostly it's because it serves the player's main role: a hardened survivor whos a capable killer, struggling through a crapsack world. The similarity though comes in with the boss battles against the infected.
The enemy in these fights is almost unstoppable, they're a tank, and the devs have the player running from them just to survive. Many players cant help but feel a little panic as they run for their lives, especially with the superbly designed custom death scenes for joel. The point is, mechanics are more of a means to an end, and if games are paintings, and mechanics are the brushes, player behavior is the individual strokes and player emotion is the color. And by examining TLOU in this way, it becomes obvious that while its a third person survival shooter, the boss fights are *overtones* of Alien: Isolation.
And we can draw that comparison because like bach, who was deaf, and focused on the keys and not the sound, we're focused on player behavior and not strictly emotions.1 -
Oh you want that ticket closed from a week ago? Okay how about every time i finish it, you quit reopening it and adding more tasks and features to shit ive already redesigned/gutted/debugged about 20 fucking times.1
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I hate meteor. I hate that I have to have everything I do revolve around meteor and it's packages. I hate that I cant implement HMR without support from meteor or tearing my hair out for hours on end. I hate the special implementation of unit tests that have to accommodate for the fact that meteor sucks so much. I hate the encapsulated bubble of "meteor" packages that install themselves outside of my development directory. I hate that I can't use most of the code I find while researching problems because it doesn't work inside of the meteor bubble.
I did not start this project. I did not select meteor as a starting point because I didn't want to implement my own full stack solution, of which there are many that are far better in almost every way, and watch everyone else that touched my code suffer from day one.
If it is the last thing I do, I WILL purge meteor and all of it's nonsense from every line of code in this application even if that means rewriting every line of code in this application.
I will have no mercy. There will be screams of agony, gnashing of teeth and blood will flow down the streets like the rivers of hate that flow in my heart for meteor and all things it stands for.
I will have my vengeance, and it will be terrible.1