Sentences with phrase «things about game design»

And then some time much later I became a professional game designer, like in the nineties, and learned by doing a lot of things about game design.

Not exact matches

If FlatOut 2 proves anything it's that there's room for more than one type of racer that strongly encourages wreckage at every twist and turn, and it's refreshing to see that despite EA's undeniable might smaller developers are willing to have a go at competing, often showing them a thing or two about game design in the process.

The think the best thing about the game is the level design.

«One of the great things about the sandbox with the zombies,» he said, referring to the open world, go - anywhere design of Dead Rising games, «is you can choose to barrel through [the zombies] or you can choose to skirt them.

If there was one thing I was definitely apprehensive about going into this game, it was the character designs.

Speaking in an interview on the PlayStation Blogcast, Sony's Shuhei Yoshida spoke about Dark Souls» captivating player - to - player interactions, saying «Lots of things these games - Demon's Souls and Dark Souls - did, like leaving the messages to other people asynchronously so you feel connected but not really connected at the same time, all of these things inspired us when we were designing the system features for PS4.»

I didn't know the first thing about web design or management, I had no marketing experience, I knew nothing about plugins, widgets or SEO, and concepts such as branding and growing readership were a completely new (and somewhat mind - boggling) ball game for me.

As an avid Terry Pratchett game (his books and Firefly are the only two things I've ever claimed to be a fanboy about) I cracked open the Discworld board game with something approaching nuclear - fission generating levels of excitement, but I suppressed that feeling quickly because board games are an art, their design tricky to master.

The things people complain about with this game, the camera, controlling Yooka, and some old - timey design choices, are probably things I will find frustrating, yeah, being so used to how modern games are, but I believe they will also make me like the game a lot.

Worse still are the meta jokes were a character makes an off - hand comment about a cliche or a problem with game design while the game makes you do that exact thing over and over.

The things I disliked about the 3DS version, I still dislike in this one (examples being the underwater levels or the fact that you always have a CPU controlled partner following you around even though they are worthless and they will shoot at enemies but I've never once witnessed them actually killing an enemy), but they were just how the game was designed to be, so I didn't expect those things to be fixed.

- the scene at the beginning of a ceremony caused Shimamura a bit of trouble - the lines of the ritual did not properly reflect Zelda's personality, her motivations, her powerlessness, and awkwardness - Shimamura talked about it with Naoki Mori (who was in charge of Cinematic Design, including screenplay, and cutscenes)- the whole thing was rewritten several times, until they arrived at the final result - there's quite a lot of scenes she really likes in the game - her favorite line is the «Yes» Princess Zelda gives as an answer to the Deku Tree in a particular scene - in that scene, Zelda thinks about what she should do, but she can not see it at all - she refuses to give up, and wants to give hope to Link - Shimamura tried to convey all of those feelings through the single «Yes» she spoke - recording felt completely different than for animation, the dubbing of (foreign) movies, or other games - there was no fixed routine of how to approach it, as all different things were being tried out - lines were redone even after other lines were implemented in the game, as the team found better ways to say things - Shimamura finally managed to beat the game the other day, but she wants to keep practicing her shield surfing - Shimamura explains that she really gave it her whole when voicing Princess Zelda, to give her emotions - she hopes that players will remember their memories of Princess Zelda

At its best, I left Parsons School of Design feeling invigorated about the capacity for games to affect meaningful change, to allow us to see and do things differently.

It's why we see so many developers and publishers who are positive about good changes to game design, becuase they understand that every little and big thing added to existing concepts is what keeps gaming interesting and the customers engaged.

Learning how to influence the player's experience is one of the most important things that she enjoys about game design and development.

It would be so easy to go on and on about all the tiny things about Revengeance that can be easily figured out without the first two hours by nothing more than PLAYING THE GAME but it's more worthwhile to ponder, what does this backlash mean for game desGAME but it's more worthwhile to ponder, what does this backlash mean for game desgame design?

He has worked on eight published games, two textbooks, two free online courses in game design, and several other things he can't talk about since he's still under NDA.

Though the truly striking thing about Border Break, more than any other, is how seamless the game integrates a Western design approach for a PC shooter with the very Japanese rule sets that ensconce its mecha mythos.

We talk about Italian things, game play design, and shooting...

The dodgy thing about this, is that whilst it is (for example) obvious that the content between segments of a TV show is designed to sell rather than inform, the same can not be said of Youtube content, when functionally a commentator enjoying a game appears the same no matter what the reason.

Gamers, however, are overwhelmingly not happy about one thing in the Winter Wonderland update, and that is the legendary skin that was designed for Mei.

Level design seems to take a low priority in general for games criticism, especially for RPGs; it isn't the only thing to talk about, obviously, and the script often rightly takes priority in many writers» minds.

- the team has been adding weapons one by one because they want the same amount of attention for each weapon - the team learned that when they added two new weapons at once, one would end up getting overshadowed by the other - there were more new stages than returning stages because bringing back old stages would have little surprise - since they want to satisfy both new and returning players, they changed the order of stage additions - there weren't any major direction changes in balancing from Splatoon 1 - there have been more pattern combinations between weapons and stages, so there was more involved to balance them all - matchmaking is handled by getting 8 players with similar rank points, and then they're split by weapons - the rank point gap between S + players is bigger than ordinary players - only about one in 1,000 active players are in the S +40 to S +50 region in Ranked Battles - there's even less than one in 10 players that reach S +, while 80 % of the overall player base are in A or less - about 90 % of S + ranked players are within a + / -150 hidden ranked power range - rock was the popular genre in Splatoon, so they tried changing it for the sequel - they prioritized making good background music first before forming the band to play that music - the design team would make the CD jacket - like artwork afterwards - due to this, the band members would often change; some getting added while some others removed - Off the Hook is an exception, as they first decided they would be a DJ and rapper along with their visuals first - Off the Hook's song came afterwards - In Splatoon street fashion was the trend, but in Splatoon 2 they tried adding more uniqueness - the aim was to add Flow with ethnic clothing and Jelfonzo with high fashion - all Jellyfish in this world are born by splitting, which means Jelfonzo was born by splitting from Jelonzo - Jellyfish are like a hive mind - when they hold a wedding ceremony, they're just simply holding the ceremony - Jelonzo and Jelfonzo start gaining their own consciences so they can speak - Flow used her working holiday to go on a trip before reaching Inkopolis Square - during the trip, she met the owner of Headspace - the owner liked her, so she got hired to work there - Bisk has a unique way of speaking: anastrophe - the team tried to express him as an adult man - they made him into a giant spider crab because they wanted someone with high posture - he came from a cold country and broke up with his girlfriend to join a band - just like Flow, he became attracted to squids - Crusty Sean finally has his own shop, but he opened it because he's someone who follows the current trends - one of the trends happens to be people opening their own shops - drink tickets aren't stacked, but the probability is higher than a single brand - the music in Inkopolis Square changes depending on the player's location - sounds contribute to creating atmosphere in the location - the song at front of Grizzco Industries had an atmosphere that feels like some smell can radiate from the game screen - as for Salmon Run, they imagined it as a Japanese restaurant outside Japan that is not run by a Japanese person - each time the player moves between the shops, the game uses an arrange shift that shows the personality of each inhabitant - the arrangement in Shella Fresh is related to Bisk's guitar and mystery files that describe his past - with the Squid Sisters moved to Hero Mode, Off the Hook was put in charge in guiding battles and festivals - Bomb Rush Blush has an orchestra «because it would sound like the final boss» - the team wanted to express the feel of the story's real culprit with this music - the probability of each event occurring in Salmon Run is different - there are no specific requirements, meaning they're picked randomly - this means it's possible for fog to appear three times in a row - the Salmon have different appearances based on the environment they're raised in - if the environment is harsher, they would become large salmon - Steelheads and Maws have big bodies, while Scrappers and Steel Eels have high intelligence - Salmons basically wield kitchenware, but everybody else has a virtue in fighting to actually cook the Salmons - Grill is the ultimate form of this - when Salmons are fighting to the death, they can feel the same sense of unity - they would be one with the world if they were eaten by other creatures, and they also fight for the pride of their race - MakoMart is based on a large supermarket in America - the update also took place on Black Friday in America, which was why Squids are buying a lot of things in the trailer - Arowana Mall looks like it has more passages because there are changes in tenants and also renovation work - Walleye Warehouse has no changes at all, because the team wanted to have at least one map that stayed intact - the only thing different in this map is the graffiti, which is based on the winner of Famitsu's Squid Fashion Contest - all members in the band Ink Theory graduated from music university - they are well - educated girls who also do aggressive things - the band members wearing neckties are respecting the Hightide Era from the prequel - the team will continue adding weapons and stages for a year, and Splatfests for two years - the team will also continue to make more updates including balancing

Even if you aren't interested in the game itself, the design strategies and execution are things that are reminding this jaded MMO - enthusiast about what got me into the MMO genre in the first place.

Chris's observation about how he used to put off design for technical or the trap of making a game without a specific purpose are both things I can relate to.

First, let me say that about half of what started me thinking about this was a discussion with my friend Pat, the Narrative Designer on my project, who pointed out a few brilliant things about the HUD design in GRAW that tied in in a nice way with my own currently developing thoughts on Camera in games in general.

Here we have «Davey Wreden, I made a game called The Stanley Parable» talking to us about things such as the Source engine and game design principles and his friend Coda's games.

This design philosophy is a primary influence on how I think about design in my own games, but clearly my own games don't embody all the things that immersive sims grew to contain: emergent AI behaviors, a wide range of expressive player abilities, upgrades, weapons, stealth options, and more.

One of the things I love about the role - playing genre is the ability to design a character, taking care to think up their skills, backstory and personality, even though these elements are not necessarily representable within the game world.

One of the things about the way that we designed weapons on this game (which is a little different than what we'd done before) was that it was much more almost clinical trying to figure out what we needed.

Whether developers are carefully considering how co-op gameplay will affect their carefully designed missions, or simply noticing a way to sell more copies of their game, one thing's for certain: nobody except Nintendo seems to care about local multiplayer anymore.

This is the very thing that games were originally designed to be, of course I'm talking about fun and this revival never stops being anything other than that.

I've heard them complain about the design practices of casual game companies (Zynga etc.), but that's not the same thing.

This gives you a chance to hear about things relevant to the industry at the time, and allows you to get answers from a game design insider.

The interesting thing about Sandlot is that their unique approach to mecha gaming has had knock - on effects to the design of other genres, most notably that of action games, and there was me thinking that mecha could only destroy things.

As I've become increasingly bored with the series» formulaic open - world design, I've actually grown to prefer the novels, because I can get to know the characters and storylines (the main things that interest me about the games) without dealing with any of the frustrations that have kept me from truly enjoying an Assassin's Creed game since the original two.»

Sure, which is why they made Steam Controllers, and Big Picture Mode, and designed a VR headset, and are developing VR games, and hosting record - breaking esports tournaments... «as little work as possible», doing things nobody has ever done before, to «print money»... if they were truly another «disregard artistic vision, print money» - type company, we'd all be bitching right now about how bad Half Life 6 was.

Game design is about people making things they want to play, then capturing other people's interest.»

Be it stylistic choices that build up a sense of the new and unknown, story beats that are based around surprise and excitement, or how narrative design can work together with things like level design to help players feel excited about the little things they find in the game world.»

Being somewhat limited in my freedom to be entertained as a kid, for many years of my life, gaming served as a diverse means of escape for me away from the trappings of a mostly mundane, repetitive life, at the end of the school day I would often think to myself «alright... so what are some of the good things that I have to look forward to when I get home...», one of the first things that I would do as soon as I got home after school was play FINAL FANTASY on PlayStation, I would eagerly walk home as quickly as I could just so that I could continue playing from the part where I had last left off the day before, as pathetic as this may come across, I can confidently say that many of the happiest moments that I have had in my life have been while being utterly enthralled by the developments in the games, I think that reminiscing about aspects of a video game with great fondness is a hallmark of an impactful form of entertainment, I would often be so «in the zone» while playing that anything aside from what was taking place on the screen would become completely null and void in my mind to the point where I forget that I was playing a video game, even though I did not live the events of the game, I can emphatise with them as if I had, that is the sort of impact that the emotional depth of the story, the characters, the music, the design and the overall world of the series have had on me, what appeals the most to me is that FINAL FANTASY allows us the luxury of divorcing ourselves of our current reality to assume that of a world of fantasy for a precious moment in time, which is a sentiment that makes me wish that our world as whole had a little more «FINAL FANTASY» within it so as to make us all want to wake up as soon as possible to enjoy another day

, the pathetic automatic level up system, the world is massive but incredible bland and boring, the robotic and soulless animations, the progressive bullshit that is throw down your throat, the «Cassandra / whatever don't approve that» is annoying as fuck, the only thing i like about this game was the armor design.

The rare (but still frustrating) instances where I have stumbled upon these kind of problems (usually in adventure games of epic size) can be easily explained as rushed decisions made to meet the deadlines rather than the results of no one caring about such things (i.e. misguided design principles).

That's one of the things that bugs me about Metroid games, and others as well — that sometimes the «exploration» aspect is fake, just part of the design to hit the right things in the right order.

You enjoy building fun gameplay mechanics and know a thing or two about game design?

One thing I truly enjoy about the avatar and Modern Sonic's stages, or at least in the 3D segments, is the sheer amount of multiple pathways there are, no matter how convoluted they may seem.There are also stages where both the avatar and Modern Sonic run along side each other, which opens up the multiple pathways even more, and instead of switching a character out, each of their moves is assigned to a specific button, making them act as one character, which take some getting used to due to the visual appearance of both characters appearing on screen, but is definitely optimal.There's also some level designs with certain gimmicks: at one point you're playing pinball in the middle of a bright forest with classic Sonic, and in that same forest, you'll be playing pinball with some enemies down a water slide with the avatar, were the control starts to get kind of out of hand, while Modern Sonic will face a boss that combines the level design from Lost World with this game's boost mechanics, which was probably the intention for the departure in the 2013 game.

Nintendo could learn a thing or two about varying their design mechanics from this game.

So yeah, that's one very good thing about the graphical design of the game.

Further details were also revealed: the game world has boundaries and is not spherical, as no one knows what lies beyond the sea; the aforementioned mysterious girl, Noi, emerges from one of the ruins falling from the sky; gameplay and battle systems have been adjusted in response to feedback about prior games» slow pacing; and boss fights were apparently one of the first things the staff designed.

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