Tuesday, October 25, 2005

Design Document Info

More stuff from my prior classes. Definitely going to come in handy.

Creating a great design document
http://www.gamasutra.com/features/19970912/design_doc.htm

Anatomy of a Design Document (Part 1)
http://www.gamasutra.com/features/19991019/ryan_01.htm

Anatomy of a Design Document (Part 2)
http://www.gamasutra.com/features/19991217/ryan_01.htm

Audio Design Document
http://www.gamasutra.com/features/20000726/zizza_01.htm

Basis for development plan

In my level design class, we were given a model for the foundation of level design. I am using this model as the basis for my revised calendar. I will 'skimp' initially on the design document, but since it will ultimately be the basis for my written thesis, I'll continually contribute to it over time. Fortunately my scope will be focused on a single game level initially and brief document may be somewhat appropriate.

Research - Syncing w/Genre Design Document Level Document
First Study (Post its) (2-3 Days)
Second Study (Bubble Diagrams)(3-4 Days)
Third Study (Drawings) (1 Week) Fourth Study (Enlarge & Detail) (1 Week)
Fifth Study (Massing Models) (1 Week)

For anyone interested on refreshing their level design memories, here is the link:

http://www.gamasutra.com/features/20030603/licht_pfv.htm

Revised Development Calendar

Class

Date

Activity

Deliverable

Class 12

October 25

Review Finalize Development Plan
(Begin Normal Mapping)

Development Plan

Class 13

October 27

Begin Bubble Diagrams
(Continue NM)

Design Document (Preliminary Thesis)
Level Document
Finished Spatial Studies (Post its)

Class 14

November 01

Begin Level Drawings (3rd Study)
(Continue NM)

Finished Bubble Diagrams

Class 15

November 03

Level Drawings
(Continue NM)

Class 16

November 08

Begin Enlarged Spatial Details (4th Study)
(Continue NM)

Finished Level Drawings

Class 17

November 10

Enlarged Spatial Details

Class 18

November 15

Start Massing Models
(Continue NM)

Finished Enlarged Spatial Details

Class 19

November 17

Massing Models (5th Study)
(Continue NM)

Class 20

November 22

Final Class - Work Review

Massing Model/Build Foundation Complete

Thursday, October 20, 2005

Thesis Concept Analysis

My primary deliverable was an anlysis of the concept that I am considering for my thesis. Below are the primary goals or objectives of my thesis at this time.

  1. Develop a specialty to a professional level.
  2. Maximize the content and interactivity of virtual environments (In the form of guidelines for maximum content based on hardware limitations that could be applied to varying production cycles to perhaps give an indication of the level of content that will be provided by an individual project).
  3. Develop environment content by perhaps integrating database functionality or use within a particular 3D engine that could employ dynamic capabilities to increase the interactivity, level of detail, and sense of realism in a 3D environment by producing dynamic content that has dynamic attributes. The intent would be further extend a players experience by allowing the imagination to explore beyond traditional barriers and limitations.
After reviewing my ideas and concepts for the game concept of 'Soul Windows', I am comfortable in saying that it provides ample working ground for my thesis. Since the focus of my thesis will focus primarily on the level of detail of the environment, I will suspend work on the character development and begin developing a preliminary environment for the thesis. As part of my development plan, I will begin creating models using high detail with respect polygon count and texturing. My first order of business will be to become proficient enough with normal mapping to utilize that process on 'all' models that I create. While I am developing that skill, I will map out and design the environment that will be the basis for the models that I create.

As a tangent, although I believe it is directly related to what I am trying to accomplish, I want to experiment with the limitations of creating realistic liquid effects. If possible, I would like to find a way to implement realistic liquid effects within a game engine. Currently, the majority of effects are illusions, psuedo-models, or otherwise tricks to produce liquid elements. This is ultimately a fourth objective of my thesis.

Finally, in summary, I have identified what it is that I want to do. I believe that I have identified a vehicle or idea to serve as the working space to accomplish my objective. However, I am not sure the scope of my project is appropriate at this point. I am comfortable proceding with what I have, but I may limit my focus if I find my rate of progression is not what I hope it will be.

Antagonist Revision

I noted in my previous post that the 'demonic undead' was not the approach I wanted for my trans-dimensional soul leech (that sounds weird). Anyway, I took another pass and this is what I've come up with so far.

Original Character Work

This is a depiction of the main character or player prior to having experiencing displacement. Nothing special really, I was just toying with the approach of having a regular guy as the main character. I'm sure the wind breaker/slacks combo is really going to work well. Anyway, it was just an idea.



Here is the same character after displacement. The good guy has essential become the bad guy, or rather the bad guy is in the good guy's body. I was going for the sinister effect. Again, the simplicity of the character seems to be working against me.



After the player loses his body, his appearance turns to something that has limited form and identity. This is what I came up with.




Last but not least, here is my bad guy. He resembles some form of the demonic undead, which is not what I was really going for. I was something more alien. The basic idea is to create something that is some kind of soul leech. That is the idea anyway.


Tuesday, October 18, 2005

Elements to Develop

These are elements that I am listing that I will need more depth for the game approach overall. In addition, I think that some of them will be necessary for my preliminary environment. These probably do not make any sense to anyone but be, I just needed to put them somewhere I will not lose them. :)

Beginning Story

Fountain of Youth

Soul Rend

Rules of Death

Original Concept Material

The following is the original concept for the board game called 'Soul Windows'. This will provide the basis for my project. I will adapt the approach to a first person single player game. I have also modified the story line and the depth of the storyline which I will detail in a subsequent post.




Executive Summary
Soul Windows is a game that causes players to use their ingenuity to gather information while hindering other players from doing the same. The game will employ an approach that includes game play from the games Clue, Sorry, and Dark Tower. Each player begins in a ‘displaced’ state meaning that they have had their bodies stolen from them. Their objective will be to find sufficient clues to identify the individual who has stolen their body. Once they can identify the host of their body, they can confront them in a final battle/challenge. If they are victorious in this final challenge, they win the game. If not, they must wait until their next turn before attempting again.

The interesting aspect of Soul Windows is that a player will experience the game in two different states. The two states are living and displaced. As mentioned previously, all players begin in a displaced state. While players are in this state, their objective is to escape the world of the dead by displacing another player or obtaining a body from a non- player character. Players will draw a determined number of cards when it is their turn. The cards will give them the ability to take certain actions. Once a player has found a way into the living state, they can begin to search for clues.

Each player in the game will also serve as a body thief for one of the other players. At the beginning of the game, they will draw from a set of cards that will determine which one of the other player’s body they have stolen. They have stolen. As players collect information, they will eventually have enough information to challenge whoever has their body. At this time, the players will engage in a die exercise that will represent a final battle. Depending on the outcome of the die exercise, the challenging player will either win the game or experience an in game death in the world of the living in which they send back to the world of the dead or in other worlds, back to the displaced state.

Demographics/Audience
This game is intended to have a duration of one half hour to possible to two hours depending on the skill of the players to inhibit other players. Although the game theme deals with the paranormal, the game play is a combination of mystery, strategy, and chance. The game itself is not overly complex and anyone of the age 12 or over who enjoy board games would be able to learn and effectively play the game. Individuals who enjoy science fiction will find that the subject matter and the symbolic game play adds additional appeal.

Story/History/Background
The concept for this game originated from a video game concept I produced while brainstorming in my non-linear story-telling course. I wasn’t planning to use the concept for anything, but I liked the idea so much, developing a board game for the concept could definitely help me to take it a step further.

The story began with a two scientist studying the afterlife. Using research they had obtained from ancient religions and new technology, they developed a method that they believed would allow them to look into the afterlife. However, on their first attempt to use their new process, the experienced more than they expected. They did succeed in opening a rift into the afterlife, but they did not expect that something would be waiting on the other side. Some form of an ethereal being entered through the rift that they created and stole the very body of one of the scientists. It was not merely a simple possession of the body and soul, the being actually displaced the spirit of the scientist and sent into the world of the dead. Being free with a corporeal form in the real world, the being began to develop its malevolent plans to exist eternally in the living world by feeding on the life force of all humanity. It is in this state that the scientist finds himself in the world of the dead without identity. Fortunately, his former partner uses the same technology that made the rift into afterlife to contact him and together they discover how to find and enter ‘Soul Windows’ with which he can locate certain individuals in the living world and displace their souls to allow him to reenter the world of the living. Once back in the world of the living, the scientist uses the identities of the bodies that he assumes to hunt down the rogue spirit that stole his body. Through re-death and displacement, the scientist eventual tracks down the being and uses a collection of skills and abilities to displace the being back into the world of the dead.

Objective
The objective of the game is for each player to find a match to their identity symbols to in effect identify who stole their body. Once players have found their identity, the player to their left serves as their body thief whom they challenge to regain their soul.

Equipment
2 Dice
6 Player Pieces
1 Game Board
9 Envelopes
18 Red Symbol Cards
36 Blue Folder Cards
50 Green Play Cards

Setup
Select one player to pass 3 cards to each player from the Red Card deck. Each player views the cards he or she has received. They then put the cards face down in front of them. Each time a player dies or is displaced, they must reveal one of their identity cards to the other players until all of their cards are displayed.
The dealing player will then shuffle and divide up the blue cards evenly between the 9 clue folders representing each of the areas on the game board.
Each player up to 6 players selects a unique playing piece an places it on the corresponding color on the game board making sure that the side of the playing piece representing the displaced or dead state (side with the x) is facing upward. Every player begins in the displaced state.
Once players have positioned their pieces, each player rolls one die. The player with the highest roll begins play. Turn proceeds from the beginning player clockwise around the board.

Begin
When a player’s turn begins, they have two possible actions. The can choose to roll the die to enter the living state if they are on their home space or in the church. If they roll a 1 or a 6 while on their home space, the player becomes living. Once a player enters the living state, they turn their playing piece over so that their piece shows that they are no longer dead. Players can also select from the movement card stack and then play out the instructions written on the card. A card is discarded faced up once it has been played.

Movement
Movement in the game is dependent on the state that you are in. If you are dead, you can move in any direction (horizontal, vertical, diagonal) without respect to doors or pathways. In addition, when you draw a movement card, you move your piece double the number of spaces displayed on the card. If you are brought to life for whatever reason, you must move your game piece to the nearest game space or building adjacent to your playing piece. Once alive, you can only move your playing piece along the pathways. In addition, you can only move horizontally or vertically. You must also enter buildings through a marked doorway. If you select a card that provides more spaces to move to than is required to reach your destination, you may move to the destination without moving the excess spaces.

Game Play
Players move about the board to the different areas. Each area contains clues. However a player must be living in order to look inside a clue folder in an area. A dead player can occupy a space simultaneously with a living player. If the living player looks inside the clue folder, the dead player can roll a die to see what the living players sees. The dead player must roll a 6. If the player rolls a 6, then the living player must allow him or her to view the card that they viewed. When a player chooses to look inside a clued folder, they view only the top card. If it is a match to one of their identity cards, they retain the card and display the match for all players to see. If the card is not a match, they return the card to the bottom of the folder.

If a player draws a card to displaces another player, they have the option of stealing one of their visible identity cards. The player must exchange the card with one of their own identity cards. Once a player has obtain 3 complete matching sets, they may make a challenge to regain their soul. If successful, they win the game.

Action/Power Cards
Displace Player: Also player to displace another player and enter the world of the living and optionally exchange one of their identity cards.
Move Cards: (1-9 Spaces) Allows Players to move specified number of spaces. (Double the spaces for players in the displaced state).
Steal Identity Card: Prevent an opponent from obtaining a clue.
Live or Die: Allows player to die or to live.
Go to the graveyard: Go to the graveyard become dead, and lose a turn.

Final Confrontation Mechanics
The player and the body-thief (The person to the left of the player) each roll a 1 die 3 times. The player who rolls the highest score two out of 3 times, wins the battle. If the challenging character wins the battle, they win the game. If not, they are displaced, and must reenter the world of the living to re-challenge to regain their body.



Wednesday, October 05, 2005

Concept Research

Level of Detail

Normal mapping will definitely supplement the increase of content quality and quantity in virtual environments. Additionally, it can indirectly contribute to the level of interactivity of the environment.

Demands
http://www.gamasutra.com/gdc2005/features/20050309/postcard-kane.htm

Normal Mapping Tutorial
http://www.msmiami.com/custom/downloads/3Ds7_Mapping.pdf

Normal Mapping Pitfall
http://bcloward.blogspot.com/2005/05/normal-map-seams-in-3ds-max.html

Normal Mapping Example
http://cgchat.com/forum/showthread.php?threadid=20424

Content interaction

Scaling Content
http://www.gamasutra.com/features/19991124/pallistermacri_pfv.htm

Substance & Style
http://www.gamasutra.com/features/20051004/sylvester_01.shtml

Design Process
http://www.gamasutra.com/features/20000630/huntsman_01.htm

Half-Life 2 Process
http://www.gamasutra.com/features/19991210/birdwell_01.htm

Tuesday, October 04, 2005

Potential Concepts\Focus Ideas

When I originally planned to produce my thesis, I intended to simply to create a flag-ship portfolio piece during the duration of my studio and thesis courses. I wanted to use a concept that I developed in an earlier course (titled "Soul Windows") as the substance for the project. This concept was for a board game project. The concept behind the game had tremendous potential in the 3D realm and I developed the storyline further than what I had in the board game to better explain the loose ends in the story line. I also found an untypical environment in the game 'Pain Killer' that gave me an idea to communicate one of the visual/experience elements in the game where the avatar is its 'dead' state.

While this approach is still something that would do well as my project, once I began our studio 1 course, I found that the actual thesis deliverable needed to have more of a focus. In addition to having focus and purpose (meaning postulating a theorem, investigating its viability, and finally producing a significant output representing the justification of the thesis), I also want to take this space of time to develop a specialty. This may not consist of a group of specialties that contribute to a single focus, but this development period represents an opportunity to bring the trade skills that I use in my project to a professional level.

One of the concepts that I feel that would help me to accomplish this is to develop a process or criteria to maximize the content and interactivity of virtual environments. Due to limitations of computing and video graphic technologies, the content of virtual environments. In addition, the cost effectiveness of production also contributes to the limitation of developers in the form of production cycles, timelines, and deadlines. I would like to establish guidelines for maximum content based on hardware limitations that could be applied to varying production cycle indications to perhaps give an indication of the level of content that will be provided by an individual project.

My second potential concept is a related focus where I would like to develop environment content by perhaps integrating database functionality or use within a particular 3D engine that could employ dynamic capabilities to increase the interactivity, level of detail, and sense of realism in a 3D environment by producing dynamic content that has dynamic attributes. The intent would be further extend a players experience by allowing the imagination to explore beyond traditional barriers and limitations.

Thesis Development Calendar

Class

Date

Activity

Deliverable

Class 06

October 04

Concept development

Revised Calendar

Class 07

October 06

Concept research

Class 08

October 11

Concept research

Tentative Thesis Concept

Class 09

October 13

Research/Test Thesis Concept

Class 10

October 18

Research/Test Thesis Concept

Class 11

October 20

Begin Development Plan

Thesis Concept Analysis

Class 12

October 25

Review Finalize Development Plan

Development Plan

Class 13

October 27

Concept Work & Research

Class 14

November 01

Concept Work & Research

Class 15

November 03

Concept Work & Research

Concept Viability Final Analysis & Group Critique

Class 16

November 08

Concept Work & Research

Development Plan Update

Class 17

November 10

Concept Work & Research

Concept Work Review & Group Critique

Class 18

November 15

Concept Work & Research

Class 19

November 17

Concept Work & Research

Class 20

November 22

Concept Work & Research

Preliminary Thesis Composition and Concept Work/Group Critique