Roll for Initiative Team Talk Levels

The Creative team chat about building the levels for the game- Roll for Initiative.


Roll for Initiative
The Beginning~ The township of Aldunpoe has carried through the generation the myth of riches long lost in the Cathedral Salestoren, though there are few left in the port city to remember. Trinn Evershed scarcely did till the ramshackle spires of Salestoren blinked through the fog in a practical dare. The interior of the Cathedral bared evidence of the battle of Baroonet where the Palladian’s fell then cast to clay and army entombed below. Trinn scoured each room and found nought till his footing slipped. Shoving the rotted timbers aside and clutching an unhinged door, he righted his balance. This effect initiated the teetering of immense the vitrine. The contents shimmering of gold, jewels, and a glowing decanter tumble to the stone floors. The engraved malachite bottle fractures to shards and the glowing elixir seeps through the stone and a deafening sigh is heard. Trin Evershed pockets what he can as he races away from the ominous situation. Paladin Dunraven awoken ahead of time by the Potion of Robion booms to his army- it is time.


Roll for Initiative in an Introductory to Tabletop RPG – video games. It is a video game to introduce the player to RPG mechanics, exploration, combat, and class distinctions of tabletop reminiscent of Dungeons and Dragons or Pathfinder. It is daunting the infinite amount of information and rules to play Dungeons and Dragons or Pathfinder. In this game, the rules and material are built-in and teach the player as they advance each level. Dice, characters, enemies, and bosses are all included in the game. All you need to do is play and learn.


NerdzGarage and Zygobot Studios are in production building the Prologue to the game. Roll for Initiative Creative Team

Dylan Smith – Creative Director Michael Vancore- Design Lead Elyssa Burgess – Art Lead Jake Wade – Designer Roy Papp Course Director Game Design Masters- Full Sail University Founder: Zygobot Studios Let’s be honest; there is still a bit of drama when we play. Sit Down -Grab a Drink – Join the Game Dylan Smith Roll for Initiative Creative Team Dylan Smith – Creative Director Michael Vancore- Design Lead Elyssa Burgess – Art Lead Jake Wade _ Designer Roy Papp Course Director Game Design Masters- Full Sail University Founder: Zygobot Studios

Let’s be honest; there is still a bit of drama when we play.
Sit Down -Grab a Drink – Join the Game
Dylan Smith

Roll for Initiative- Talking D&D Classes and Characters.

The township of Aldunpoe has carried through the generation the myth of riches long lost in the Cathedral Salestoren, though there are few left in the port city to remember. Trinn Evershed scarcely did till the ramshackle spires of Salestoren blinked through the fog in a practical dare.

The interior of the Cathedral bared evidence of the battle of Baroonet where the Palladian’s fell then cast to clay and army entombed below.

Trinn scoured each room and found nought till his footing slipped. Shoving the rotted timbers aside and clutching an unhinged door, he righted his balance. This effect initiated the teetering of immense the vitrine. The contents shimmering of gold, jewels, and a glowing decanter tumble to the stone floors. The engraved malachite bottle fractures to shards and the glowing elixir seeps through the stone and a deafening sigh is heard.

Trin Evershed pockets what he can as he races away from the ominous situation.

Paladin Dunraven awoken ahead of time by the Potion of Robion booms to his army- it is time.

Roll for Initiative in an Introductory to Tabletop RPG – video games.

It is a video game to introduce the player to RPG mechanics, exploration, combat, and class distinctions of tabletop reminiscent of Dungeons and Dragons or Pathfinder.

It is daunting the infinite amount of information and rules to play Dungeons and Dragons or Pathfinder. In this game, the rules and material are built-in and teach the player as they advance each level.

Dice, characters, enemies, and bosses are all included in the game.

All you need to do is play and learn.

NerdzGarage and Zygobot Studios are in production building the Prologue to the game.

Roll for Initiative Creative Team

Dylan Smith – Creative Director

Michael Vancore- Design Lead

Elyssa Burgess – Art Lead

Jake Wade – Designer

Roy Papp

Course Director Game Design Masters- Full Sail University

Founder: Zygobot Studios


Let’s be honest; there is still a bit of drama when we play.

Sit Down -Grab a Drink – Join the Game

Dylan Smith

Nerdz Garage Roll for Initiative Episode One

Roll for Initiative The Beginning~

The township of Aldunpoe has carried through the generation the myth of riches long lost in the Cathedral Salestoren, though there are few left in the port city to remember. Trinn Evershed scarcely did till the ramshackle spires of Salestoren blinked through the fog in a practical dare. The interior of the Cathedral bared evidence of the battle of Baroonet where the Palladian’s fell then cast to clay and army entombed below. Trinn scoured each room and found nought till his footing slipped. Shoving the rotted timbers aside and clutching an unhinged door, he righted his balance. This effect initiated the teetering of immense the vitrine. The contents shimmering of gold, jewels, and a glowing decanter tumble to the stone floors. The engraved malachite bottle fractures to shards and the glowing elixir seeps through the stone and a deafening sigh is heard. Trin Evershed pockets what he can as he races away from the ominous situation.

Paladin Dunraven awoken ahead of time by the Potion of Robion booms to his army- it is time.

Roll for Initiative in an Introductory to Tabletop RPG – video games. It is a video game to introduce the player to RPG mechanics, exploration, combat, and class distinctions of tabletop reminiscent of Dungeons and Dragons or Pathfinder. It is daunting the infinite amount of information and rules to play Dungeons and Dragons or Pathfinder.

In this game, the rules and material are built-in and teach the player as they advance each level. Dice, characters, enemies, and bosses are all included in the game. All you need to do is play and learn.

NerdzGarage and Zygobot Studios are in production building the Prologue to the game.

Roll for Initiative Creative Team

Dylan Smith – Creative Director

Michael Vancore- Design

Lead Elyssa Burgess – Art Lead

Jake Wade – Designer Roy Papp Course Director Game Design Masters- Full Sail University Founder: Zygobot Studios

~ We play. We invent. We review. We are an independent, creative pop culture studio that looks beyond what is contemporary. We grew up in pop culture and strive to present a positive and diverse forum on everything nerdy.

Nerdz Garage Dylan Smith

https://www.nerdzgarage.com/

Roll for Initiative Talking D&D Classes

Roll for Initiative Talking D&D Classes and Characters.

The Beginning~ The township of Aldunpoe has carried through the generation the myth of riches long lost in the Cathedral Salestoren, though there are few left in the port city to remember. Trinn Evershed scarcely did till the ramshackle spires of Salestoren blinked through the fog in a practical dare. The interior of the Cathedral bared evidence of the battle of Baroonet where the Palladian’s fell then cast to clay and army entombed below. Trinn scoured each room and found nought till his footing slipped. Shoving the rotted timbers aside and clutching an unhinged door, he righted his balance. This effect initiated the teetering of immense the vitrine. The contents shimmering of gold, jewels, and a glowing decanter tumble to the stone floors. The engraved malachite bottle fractures to shards and the glowing elixir seeps through the stone and a deafening sigh is heard. Trin Evershed pockets what he can as he races away from the ominous situation.

Paladin Dunraven awoken ahead of time by the Potion of Robion booms to his army- it is time.

Roll for Initiative in an Introductory to Tabletop RPG – video games. It is a video game to introduce the player to RPG mechanics, exploration, combat, and class distinctions of tabletop reminiscent of Dungeons and Dragons or Pathfinder. It is daunting the infinite amount of information and rules to play Dungeons and Dragons or Pathfinder. In this game, the rules and material are built-in and teach the player as they advance each level. Dice, characters, enemies, and bosses are all included in the game. All you need to do is play and learn.

NerdzGarage and Zygobot Studios are in production building the Prologue to the game.

Roll for Initiative Creative Team

Dylan Smith – Creative Director

Michael Vancore- Design Lead

Elyssa Burgess – Art Lead

Jake Wade – Designer

Roy Papp Course Director Game Design Masters- Full Sail University Founder: Zygobot Studio

~ We play. We invent. We review.

We are an independent, creative pop culture studio that looks beyond what is contemporary. We grew up in pop culture and strive to present a positive and diverse forum on everything nerdy.

Nerdz Garage Dylan Smith

Virtual Reality and Nonlinear Narrative in Games

Nonlinear narrative is an important aspect of the future development of video games and developing new audiences.  The resurgence of VR technology in the context of video games further affirms this idea.  Putting the control of game narrative into the hand s of the player is an important aspect for the future of video game development.

Immersive narrative enriches the gaming experience. There is documentation that nonlinear narrative will bring newcomers to video games. Recent developments in and the popularity of VR games affirms this idea. Putting players in known environments with a known story that they can expand on, is a new direction for games. From cave paintings to radio broadcasts to VR, storytelling is a way of making sense of the present. (Gera, 2019)

Immersion can be conceived in two ways: as a technological effect or as a mental state. The two cannot be totally dissociated, since the immersivity of a technology is always a measure of its ability to induce immersion as a mental state. In VR interactivity leads to immersion because it connects the user to the environment. (Ryan)

The challenge to the gaming industry is to bring this new narrative style to players to create more encompassing stories that they can relate to and ultimately create new myths. ASIMOS, (2018). For the industry this will provide more interesting and immersive experiences for the players. VR technology, VR gaming, further puts the player in the driver’s seat, controlling the narrative.  

Background

  Narrative is about the actions of people, about their relations to other people and to their environment, but not every sequence of actions and events constitutes a well-formed narrative. (Ryan)

Narrative game mechanics create a pathway for gamers to participate in the creation of their own stories, in game. This allows them to feel empowered as they build story from their own imagination within the construct of the game. (Dubbelman, 2016).

            The renewed influx in VR technology gives storyteller’s and developers new avenues to create. In games interactivity has an immersive effect since players are consumed by the desire to solve problems. The immersivity of computer games comes not only from the agency given to the players and from the desire to beat the game or other players. (Ryan)

Current Research

Games, video games in particular, are purchased and played by people in virtually every demographic. The popularity of games higher than ever. Studies and papers are being produced that look at the legitimacy of games, and their narrative myths can be considered as literature. (Domsch 31). Storytelling is one of those ancient crafts that has survived several millennia and will likely continue to exist as a pinnacle achievement of human civilization. Over the years, media has changed and diversified, technology has evolved, but people’s craving for good stories remains. (Melior, 2020)

New developments in VR tech and renewed interest by the public makes this a unique time in game development.  Developers can create entire worlds or place the players in an existing story for them to be in control of a make choices in the story in full control.  But even if their narrative potential does not rival that of novels or film, computer games still have much to gain by trying to realize this potential. (Ryan)

Storytelling, narrative, in entertainment can be experienced differently by different players in the same game. Their perceptions and choices can help determine the focus of the narrative and determine if the narrative becomes myth, or not. (A, 2018)

Like the stories once told as forms of entertainment during feasts, myths are the narratives we use as entertainment, and powerful entertainment. The popularity of a narrative can help point to what could be myth Two players may encounter an aspect of the narrative at different times and thus have different emotional responses to it. Not only that, but a different player may not experience this narrative at all.

The different levels of engagement with a game is what makes video games an interesting cultural artifact. Having studied playthroughs by numerous players in a game, it showed that the player experience was different for each, dependent on their emotional responses and choices. The more popular storylines with players, then became the myth of the game. (A, 2018)

There is no doubt that a 3D, 360 degree representation of an environment will enhance video games by intensifying spatial immersion. (Ryan)

Narrative can assist in game development at nearly every stage and can be found in most games, examples such as (Super Mario Bros.), puzzles (Tetris), fighting (Street Fighter), or narratives (Final Fantasy). (Domsch 31).

This concrete, representational dimension creates a connection between computer games and narrative, for if games construct worlds, and if players can perform actions that change the state of these worlds, there must be some kind of story that unfolds in the game world, thanks to the player’s activity. (Ryan)

Narrative myth is used most obviously in cutscenes, character dialogue and in game text.  These uses of narrative can be found interspersed between player directed action scenes. In exaggerated cases, for some video games, these narrative scenes dominate the game, leaving game play as a minor aspect of a game. A games writers and developers choices determine which may be more accentuated in the final product, giving players control of the narrative myth in a game.  (Domsch 31).

            The success of the VR narrative extension Vader Immortal demonstrates that even a variety of familiar mechanics can feel fresh and exciting when contained within the framework of a meaningful story, especially when that story has a genuine impact on the rest of the transmedia story world. (Hergenrader, 2020)

Writers in game design have far reaching impact on a project. Evan Skolnick, a former journalist and Marvel Comics writer transitioned into video game development in 2001. Since then, he is worked across different platforms and genres, on dozens of well-known titles, including Marvel: Ultimate Alliance 2, Star Wars Battlefront, Mafia III, and The Walking Dead: A New Frontier. (Milano,2019)  Also an author, his book, Video Game Storytelling: What Every Developer Needs to Know About Narrative Techniques published by Penguin Random House, has earned the adoration of some of the most discerning critics in the video game industry. (Milano,2019) 

There are several primary methods to use narrative in a game.  Linear narrative is a story that is being told from start to finish. Linear-Branching, a mostly linear game but with few branching choices that lead to the same ending. There are also Non-Linear narrative games which are full of narrative but allow the character more control to explore the narrative story line that speaks to them. (Harry, 2016)

Some games structure the narrative very tightly and use writing and design and animation  to very clearly put forth their vision of the story , leaving little to the players imagination As an example, the game  Uncharted 4: A Thief’s End is so carefully crafted that every little detail made to make it feel alive. A player’s level of involvement and attachment to a narrative in a video game, their emotional connection can extend beyond the time spent playing the game. They relive favorite moments and actions in a game in their mind. They recount these stories to their friends. (Polgar, 2018) 

All aspects of their involvement in the story become the players story to re tell. When they are emotionally engaged in the story of a video game through participation. This builds on the idea that video games are a modern version of myths.

Proposed Direction

The game Industry should skew its products towards nonlinear narrative products, which will create a stronger connection with consumers to their products. Nonlinear narrative is conducive to players forming an emotional connection and their own stories in game, leading to new narrative myths.

There are more tools than ever available to game designers when they integrate narrative storytelling into all aspects of their design.  This creates a challenge to designers- when and where to incorporate these tools to further engage the players.  How to create multidimensional video games with interactive and immersive storylines, where color design choices and subtle interactions are just as important to the storyline as dialogue or setting. And rising to meet the challenge, at the new frontier of immersive storytelling, is an entirely new breed of storyteller: the narrative designer. (Milano, 2019)

            In one of the most popular styles, The player explores a computer simulated world and uncovers a story that took place in this world, often by finding tell-tale objects such as letters and diaries, or simply by listening to voices that narrate past events when the player reaches certain locations in the game world. (Ryan)

            VR Technology lends itself to this style. By immersing the player in a virtual world, removing the presence of a computer (visually) they become one with a story that they can manipulate. (Ryan)

A game that is skewed towards storytelling and creating myth can have narrative scenes interspersed throughout a game at key points to focus this. Game design may dictate the timing of these events relating to player choice.  It can be surprising to non-gaming industry people to find out how much storytelling and myth creation exists in video games, or that it does at all. The research question becomes one looking at what these new narrative myths have to offer to the literary world. Do these stories contribute to the literary world? The research question then becomes whether video games offer the literary world something new and legitimate to work with. Video games are more than the common caricature of mindless entertainment and should carry more weight. (Somerdin, 2016)

An example of this move to nonlinear narrative is the video game, Dark Souls. The narrative is present, and the lore is given in small elements revealed through interaction with the world. How this is revealed, to what level, and in what order, is controlled through the actions and gameplay of the player. The emphasis is on world building, and the few elements of scripted cutscenes are esoteric at best. So, there is a high level of implicit gameplay elements, and a low level of directly scripted narrative. The narrative of the game is present but is hidden and revealed through gameplay rather than through a linear set of events. (A, 2018)

Limitations

External Validity threat is a conclusion that is arrived at using generalizations relating to the topic or data. This study relies on user experience and each user comes to a game with a different point of view or relationship to a game. Thus, their reactions become generalizations as they relate to the game.

In VR game development, the very nature of player control may be a detriment to enjoyment. If a story truly captivates the reader, the effort needed to discover it by finding a way to progress through the game world may be more annoying than gratifying. (Ryan)

Why do big-budget AAA games tend to favor the full linear narrative game style. First, games intended for huge audiences do best when they can guarantee a good experience to the largest amount of people. Having a possibility of missing interesting plot points or going down the uninteresting storyline means that a percentage of their players are not recommending the game as highly to their friends. Second, it takes a lot of money to create content. If you are paying big-name actors to voice and mo-cap your games, you are much less inclined to want to create content for dozens of optional side-quests and alternate story paths. (Harry, 2016)

Games with more cinematics than game play, more forced narrative, draw lots of criticism. The selections that large game studios produced for E3 2016 are a prime example. The clips that game companies provided often relied on nothing but cinematics to involve viewers. But is that because the publishers do not have anything else to show? Is it because their gameplay is nothing special? Or is it because the “interactive movie” is what people really want? (Harry, 2016)

Some of the more successful VR products are VR experiences, rather than interactive games. AN experience puts a player in an existing space that they can be immersed in and explore. Without having to solve game puzzles or determine paths of success, they truly are “in” the VR space, not thinking about its story but are in the story, exploring. (Ryan)

Too much realism can be another limitation to nonlinear narrative. Games that imitate real life or mirror it run the risk of alienating players with too much repetition and “real” real life action of everyday mundane tasks. Rettberg (2008) writes: ‘Though playing the game itself a form of escapism from the demands of life in the real world, it is somewhat paradoxically a kind of escapism into a second professional life, a world of work’.  Repeating tasks to accrue resources or make progress can be rewarding, although they can become mundane. However, this kind of activity in game can lead to boredom and remove the incentive of playing a game for fun. (Kim, 2014)

Conclusion

Virtual Reality technology is ideal for incorporating nonlinear narrative storytelling into game development. Additionally, narrative storytelling through video games can become myth. As stated in Games as a Myth (A, 2018) it is possible for games to have a larger impact on a person, if players are given the leeway to become as involved in a story as they would like, or the game designers will allow. Their encouraged emotional connection to a story makes video games more than “Just a game”.

Virtual Reality technology lends itself to successful nonlinear narrative and the future is very bright for its potential, which remains to be seen, a potential that is only just beginning to get tapped. (Ryan)

Citations

Somerdin, M. (2016). “The Game Debate: Video Games as Innovative Storytelling … Retrieved May, from https://scholarcommons.sc.edu/tor/vol18/iss1/7/

Milano, D., Mercante, A., & Neville, R. (2019, June 07). Narrative Design and the Future of Video Game Storytelling. Retrieved May 30, 2020, from https://www.ceros.com/originals/narrative-design-video-game/

Harry, Fernando, Dact, & DarkForestCrow. (2016, November 05). Does Linear Narrative Belong in Video Games? Retrieved May 30, 2020, from https://indiewatch.net/2016/07/07/does-linear-narrative-belong-in-video-games/

Polgar, A. (2018). Plot, Participation, and Playing Pretend: Narrative Pleasure in Single-Player Video Games.

ASIMOS, V. (2018). Playing the Myth: Video Games as Contemporary Mythology. Implicit Religion, 21(1), 93–111. https://doi-org.oclc.fullsail.edu/10.1558/imre.

Kim, J. (2014). Interactivity, user-generated content and video game: an ethnographic study of Animal Crossing: Wild World. Continuum: Journal of Media & Cultural Studies, 28(3), 357–370

Bruns, A. 2008. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage.

New York: Peter Lang.

Milano, D., Mercante, A., & Neville, R. (2019, June 7). Narrative Design and the Future of Video Game Storytelling. Retrieved from https://www.ceros.com/originals/narrative-design-video-game/.

Hergenrader, T. (n.d.). Transmedia St ansmedia Storytelling, Immersiv storytelling, Immersive Storyworlds, and Vir yworlds, and Virtual Reality. Retrieved 2020.

Dubbelman, T. (2016). Narrative Game Mechanics. Interactive Storytelling Lecture Notes in Computer Science, 39–50. doi: 10.1007/978-3-319-48279-8_4

Ryan, M. (n.d.). Narrative in Virtual Reality? Anatomy of a Dream Reborn.

Gera. (2019, May 02). Not quite film, or games … is interactive mixed reality the future of storytelling? Retrieved December 18, 2020, from https://www.theguardian.com/games/2019/may/02/vr-mixed-reality-storytelling-sundance-festival-new-frontier-narratives

The Importance of Storyline in Mobile Games. (2020, May 04). Retrieved December 18, 2020, from https://meliorgames.com/game-development/the-importance-of-storyline-in-mobile-games/

Till Next Month

Dylan Smith

Month Nine Project C Postmortem

Project C – Postmortem

    In month nine, Team C has been continuing developing Project C. Project C is an isometric real-time RGP inspired by other games of the genre such as the Diablo series. The team consisted of three developers, two designers, and two artists. Both artists focused on making weapons such as swords or guns for the entire month, which I was one. Our three developers were all split between different tasks to try and make it simpler to integrate and manage. We had one designer. The entire project was developed using Unity as the engine, Maya as a modeling software, Google docs for any documentation, Visual studio for programming, C# was the language used, and Github was used for source control.

Overall, the development went well although there were some minor setbacks and complications. With all the issues within the project the team moved forward and the project ended well.

What Went Right

Communication:

    During the development of the entire project the team had amazing communication. We had meetings every Monday, Wednesday, Friday and Sunday. Even though I had never worked with this team before it was easy to communicate with and get my tasks. The entire team was part of the discussion where this project stood and where we want this project to proceed. This was an amazing thing for the project because it helped us flesh out the ideas, call each other out on what is going into the game and what changes we would make. This was important because there was not any bad and pointless mechanics going into the game without the entire team agreeing to it.

Mood:

The team set the mood to the game in a previous month. The mood of the game was set to be a dark and horror feeling to it. The theme of alien attacking a fantasy country set to the game play of Diablo was captured perfectly.

Implementation

The team was updating the game at every meeting with assets and new script.  It was very easy to add in the swords and other weapons I made into the game. The team was on top of it whenever I had an asset ready to import.

What Went Wrong

Source Control:

To put it simply, GitHub was the largest issue we had in the first half of the class. The group had clogged up the GitHub and we had to individually upload every file in the game back into a new Github repository. Something we can do next time to avoid this issue is keep all our work in different branches so when we push it That won’t mess up the master branch. This mistake caused a pause for five days none of us could push our work into the game which became horrible set back.

Bug Testing:

    We had a problem with some members of our team not properly logging bugs. It was difficult for the Devs to try and fix bug so we couldn’t get to everything to a working state by Sunday. Something we could do better is have a set document or program such as, Jira, so the Devs and bug testers can work together and not be in their own worlds during production.

Documentation:

The team had a problem with updating our time sheet and work log. This made it hard to tell how much time each person had done. I believe that the team was working on their task and at our meetings everyone presented their work. However, I believe in the work environment there is no way to tell if we actually had our work done due to our sheets where never filled in on time.

Conclusion

 Overall, the project was a success. The game did operate as we intended by the end of the class. Even with the many setbacks the team suffered the product is operational and properly portrays what the game is and how it is played. The team proved they can make this type of game and learned a lot about what to do during the development and what to avoid.

Project C

Till Next Month,

Dylan Smith


https://www.nerdzgarage.com/

Mastery Journal Month Nine

Quality Assurance

The focus this month was Quality assurance and its integral component of the game design process, as the successful delivery of a game is dependent on an effective QA system that covers both the verification and validation of the product. This month involved, requirements generation, test plan planning and development, defect tracking, and user experience and play test assessments.  I was able to classify, and track bugs in real-world game development projects.

My first project of the month was to deep dive into any system in Unreal and present it in a presentation. I choose the VFX and Particle Effects system in Unreal and presented the transparency card system that makes up special effects foliage in video games. Fire, explosion, magic, bushes, leaves and trees are all made with card systems.  It was very interesting learning VFX inside a game engine instead of Maya. Maya does not have a restriction of parts in VFX.

I have been promoted to Art Lead at Zygobot Studios. Zygobot Studios is also the studio producing my game. This month I acquired seven people on my team for “Roll for Initiative.”

The presentation below is the month end up date if my game.

We are in full production of my game and it is technically playable. This experience has been beyond amazing. I cannot wait for you to play it!

Till Next Month,

Dylan Smith

Mastery Journal Month Seven

Reflections on the prototype Fluidity – 2D Side Scroller

The prototype our team made this month was called Fluidity. Fluidity is a side-scrolling puzzle game where the player controls a blob of water that can change its states of mater to get through each level. As a team, we were split into Dev and Design, consisting of six people in each group. In Fluidity, I was responsible for making the trap designs to hinder and assist the player in progress through each level. I put my full effort into working on the 2D trap models. I did add animation to assist the 3D and found out that it was not necessary. I had made a total of five usable models consisting of spikes, a fan, heat vent, crusher, and a buzz saw.

The prototype created by the team was viable. This venture allowed learning and utilizing Unity. The learning curve was steep with Unity compared to Unreal. The coming months will be focusing on Unreal.

What Went Right

  1. Balancing multiple ideas.  Over the month, everyone on the team put forward ideas that were implemented in the final prototype. A team of ten plus members with various backgrounds quickly came together around this idea. As a team, wanting to find a larger audience, we decided to make a game for a younger demographic.
  2. The game based on water. The synopsis of the game is a sentient blob of water named Como that can transform between the three states of matter (solid, liquid, and gas) to manipulate their form to complete puzzles. As a team, we came up with the idea so simple; it should not have worked; however, when putting this idea into a puzzle game, it worked perfectly. The controls were simple enough for almost anyone to grasp, and the puzzles made enjoyable by the fact you can change your state of matter.  

The player will be able to change between three states of matter, Liquid, Solid, Gas.

  • The Player will use the liquid state to squeeze into tight spaces.
  • The Player will use solid-state to push objects and click buttons.
  • The Player will use the gas state to float up.

3. Art direction.

It did not take long for everyone to understand the atmosphere of our game. This premise of an escaped lab experiment allowed for some very creative traps and environments. The team played with lighting traps and generated fans to enable the player to float. All the traps are set in a 2D modern laboratory.

What Went Wrong

  1. No in-person collaboration.

The most significant drawback of our game was that we could never meet in person due to the current state of affairs, pandemic. This led to some fatigue and a lack of communication.

2. Split the workforce.

Around week two, we decided to split into two teams, team A and team B. Team A was working on a prototype where the environment changed your state of the water. Team B was working on a prototype was that the player changed the state of the water. The problem was that team A was still working on team B prototype due to miscommunication, which led team A prototype unfinished for presentation. Team B prototype was polished by the presentation.

There are two prototypes that we focused on.

  • Team B- Button press to change state- this prototype has the following button map to change the state.
  • Team A- Environment Triggers- this prototype has only the basic controls and require points in the map that will change the state of the player.

3. Sick

Around week two, I got sick with the Covid19, which significantly impacted my ability to work.

4. 3D to 2D

My background is primarily in 3D, so it took me the better part of two weeks to catch up with the other 2D artists. I tried my best to keep up with what was required for the project. I faced two major obstacles during this course. First was working in 2D and an engine that I did not have experience in. The second was being sick, both things withstanding, I did everything I could to contribute to the level necessary for the project to be successful.  

Where Does Fluidity Go From Here?

I do hope our team brings this game forward to Roy’s next class. I can see this game being fleshed out and finished if most of us put in the effort. I will personally continue to learn Unity and practice my 2D art, so when or if we go back to Fluidity, I can contribute more than I did this month because I believe this prototype. 

See you next month,

Dylan Smith

https://www.nerdzgarage.com/

https://www.artstation.com/nerdzgarage

Mastery Journal Month Six

This month was building on the skills from the Production Management Principles course, the Game Production Tools Course equipped me with tools used in the processes of software production and project management. I was familiarized with and conduct applied research related to project management software that aids in the management, workflow, and documentation of projects – including Microsoft Project, Visio, asset management systems, defect tracking systems, and much more.

We are still learning remotely and this class worked well via Zoom. A main focus this month was the outline for my Thesis. I changed my topic a bit and then had to do more in depth research. I did get a mentor for the rest of my time at Full Sail and she is the head of the Mastery Program. My game in is moving forward with new concept art.

This month was crazy hard and I am glad it is done.

A high point this month was my interview with Bill Howley. He is a Lead at Indie and about to graduate. Below if the YouTube interview where we talk about the Mastery Program and how a dream idea turns into an actual game.

See you next month!

Dylan

*art by Wenhao Liu

https://youtu.be/awwlmnEfP3U

NewGameMonday ~ Humanity SaVR

Host~ Dylan Smith

Guest ~ Bill Howley

Developers

Travis Richardson, Ronnie Savage, Tristen Howk, Francis Young, Donald Thatcher, Doug Pfeiffer,

Kishore Boopathi

Artist

Corey Lustig, Brian Winschel, Ozgur Kaderoglu, Ahmad Haron, Isaack Acevedo, Christen Miranda-Boulay, Dylan Smith, Gabriel Rivera Negron, Sangeet Chonkarathil

Technical Art

Rahul Yerramneedi

Designers

Rohit Lad, Sergey Mysin, Brandon Ferrentino, Sowmya Ragi

Production

Bill Howley, Mark Pointer, Nivedita Rajesekaran, Vafajeet Singh

Writing

Cody Ray

Audio

Cynthia Long, Wes LaChance

Thank you!

Full Sail Mastery Program