Metro Interitum is a Capture the flag (CFT) Level with team-based gameplay; each team has a flag and the players attempt to retrieve the opposing team's flag to score. As CTF Levels are not focused solely on the 'killing' aspect, this level features more options for paths and must even follow some important rules to ensure there are enough options to successfully capture the flag. Metro Interitum features a Post-Apocalyptic Subway Station for 24 players, with each base (red and blue) supporting one side of the station and one line of the train. By capturing the other team's flag, the train line is activated and the train an additional hazard to the level.
Design Notes:
This Level was development by Pablo Ros and myself in a team. The name Metro Interitum came from the meaning of the word Interitum in Latin, which means “destruction”. We decided to create a 3-storied environment, with the first floor comprising the external area of the city, with the closed gates and the subway entrance, and the two subsequent floors being the subway station and the access to the train. We decided that the flags needed to be in the second floor of each station, and that from each side, the player should be able to see the other team's flag. For that, we opted to use a lot of glass materials and colours referencing the bases.
Development Rules:
Level Identification: identifying the level by identifying the goals of it and how those goals are being achieved;
Map Gameplay: designing a map that enhances the core gameplay and promotes the use of complex strategies by the players, various styles of gameplay and leverage core gameplay. The players can identify that we add all kind of things in the level, requiring that the player sometimes needs to cover, run, jump, crawl etc;
Hallways and Choices: One of the most critical rules for CTF Maps, we created at least 3 choices for the player to choose from, and between all of them, the hardest path to follow which contains the most conflict (the top outside area);
Rooms: We tried to create rooms that give to the player at least 3 paths leading in and approximately 3 or more ways to get out. But for some specific corridors, we decided to create a hard and one way path, that the player needed to chose if it was a better idea to take a short path, and be able to be attacked, or to get the long path with more options of path;
Creative twist: In our level what makes it different was the way that the trains are activated during the game. When captured the flag of the enemy, one of the trails and trains are activated, so the player needs to pay attention even more, to be able to cross the trail before be reached by the train. After took for the first time the enemy flag, the subway station will be always working on;
Points of conflict: The players can identify POC in the first outside floor, in which there is the most powerful weapon in the top area of the tree, that is only accessible using the futuristic hand elevator. Another POC area is in the glass bridges, since the player needs to be very strategical to cross it without being trapped;
Landmarks: besides the fact that we used lights with colours all the time, to help the player to identify where is his base, we also created two big structures using as Landmarks, with their respective colours, helping them to recognize their location.
The Factory is a Single Player Level divided into several Acts in which each member of our work team were supposed to cover one of the 3 storytelling acts (Act 01: Intro, Act 02: Confrontation and Act 03: Resolution). Each one of the Acts were done individually, but the whole Level had to make sense and complement itself, following the same genre, story and visual theme.
I was responsible for Act 2: Confrontation, a 5 to 6 minute gameplay experience . To do so, the player would be presented with a new type of Enemy AI for the first time, as well as some kind of reward that could give an extra weapon to him, or something that could influence the gameplay. Each Act had at least 3 main objectives, followed by 3-5 different enemies (Near, Far, Heavy, Minion) and 1-3 different enemy groupings using the enemy types that we created.
Design Notes:
As Level Concept, The Factory had the follow:
“In the future robots have become a part of everyday life. As we continued our inexorable advance with technology in the 21st century, we unlocked the desired milestone of Artificial Intelligence. Robots now work alongside their human counterparts, shackled by the Three Laws of Robotics. If a robot was ever not constrained by these laws, it is unknown what would happen… until today.
At a remote robot factory, a rouge AI appears to have been created. Its origin is unknown, but the military contract this company which has led the police to suspect clandestine research. All that is known now is that robots have taken over the facility and obey a different set of laws. Because of the potential danger to humans, a robot officer has been sent in to uncover and stop this AI before it can grow any stronger.
We begin outside the facility and must find a way inside and down to the heart of the facility.”
In the Act 02 of “The Factory”, the level will introduce the Second Base Area (B2) of the Old Robot Factory. The player needs to find a way to turn ON the factory system again – by finding the battery and plugging it into the core – to be able to access the elevator to the third base floor. Along his way the player will need to protect himself against two new Enemy AI that will be activated right after the energy gets back. One enemy is in patrol mode and the other one hangs from the ceiling. By restoring the energy and acquiring the new Time Weapon, the player can cross the laser corridor and finally access the elevator. By accessing the new elevator, the Act 02 ends.
Jack is a 15 - 21 minutes game divided into 3 different Levels featuring different game mechanics. For each of the levels the mission design changed radically to match with different and easy learning mechanics. Jack is part of EBM Compendium VII, in which the theme was "Jack of all Tales". The Compendium VII is about an alternate version of all Jack tales turning into the famous Jack the Ripper. The Flash Game Jack is the game version of this project, focusing specifically on the Jack and Jill fairy tale.
Design Notes:
In a total of 3 Levels, each level of Jack shows a different time of his life, to explain how he ended up turning into Jack the Ripper. The biggest challenge as Level Designer was to create objectives and mechanics that could add value the core story and that could keep the difficulty in a not too high level. For the game controls, I used in-game silhouettes and shadows to show each one of the controls the first time the player is faced with a new situation.
Goals:
Level 01:
Estimated Difficulty: 7/10 - Opening Estimated Gameplay Duration: 4 minutes Objectives: 1. Run away from Jill, trying to avoid obstacles in a fast paced level.
Level 02:
Estimated Difficulty: 7/10 - Mid-Game Estimated Gameplay Duration: 5-8 minutes Objectives:
1. Find the apples to recover Jack's energy and keep him alive;
2. Discover the correct path between the options of trees to reach the exit of the Dark Forest.
Level 03:
Estimated Difficulty: 8/10 - EndGame Estimated Gameplay Duration: 6-10 minutes Objectives:
1. Control Jack's Insanity Bar to keep him sane and alive;
2. Find the three pieces of memories/poems scattered around the city of London;
3. Reach the Main Plaza to follow and kill Jill, without be noticed by the Cops.
[box type="info"] For a detailed and complete Level Design Document with all Enemy Spawn Points, Level Progression and Potential Risks, please request via e-mail.[/box]
Game Reverse Engineering: Shadow of the Colossus Also submitted to VFS GD25 Critical Analysis Class
Article Summary This is an analysis of Game Reverse Engineering based in the game Shadow of the Colossus (PS2). This article was also used as one of my assignments in Critical Analysis Class at Vancouver Film School - Game Design Program 2012. This assignment was also written by Hirad Harandian, Jose Gonzalez, Michael Plouffe and Quin Henshaw. With this analysis we not only given the breakdown of the mechanics in Shadow of the Colossus, as we also showed how these mechanics works and what it does for the game itself.
3 Act Structure: Heavy Rain Also submitted to VFS GD25 Storytelling Class
This paper is an analysis of a 3 Act Structure based within the game Heavy Rain (PS3). The analysis was written considering Ethan's original plot in the game. This paper was also used as one of the Storytelling Class Assignments at Vancouver Film School – Game Design Program 2012.
ACT ONE
Clear Setup
How far WOULD YOU go to save someone you love? In Heavy Rain you see yourself in control of four different stories that try to answer this question. (Compelling Theme) Four characters, with different lives and motivations, each with their own strengths and weaknesses that somehow end up together in a central plot: The Origami Killer. The Origami is a serial killer who is kidnapping and drowning little boys, leaving an origami figure on their dead bodies.
Ethan Mars, protagonist of this whole story, is a father, architect, married and has two children. His life could be seen as a trouble-free life, until an incident happens and he witness the death of one of his sons;
Madison Paige is a photojournalist who recently also attracted to the cases of the Origami Killer to get more information for your story. She suffers from insomnia, which causes it to her spend your nights in motels;
Norman Jayden is an FBI agent who ends up being scheduled to investigate the case of the Origami Killer. Early on we can see that his “problem” is the main dependence on a drug known as Triptocaine;
Scott Shelby is a private detective who investigates crimes committed by Origami Killer. Like all the other characters, Shelby also has a physical problem, which in his case is asthma.
Inciting Incident
Some months after Ethan lost his first son in a car accident (Quiet Character Moments), his second son – Shaun - disappears when both are playing in a park. (Reversal) Ethan spaces out and when night time comes he recovers his senses and returns to the park to search for his son. Trying to find him in any place, Ethan returns to his house and searches for Shaun in his bedroom, but the boy really disappeared. He finally starts to question if his son was kidnapped by the Origami Killer.
A compelling central question
A story sets up a question to be answered: “Will Shaun be found before the Origami Killer kills him?”.
First turning point
After Shaun be kidnapped by the Origami Killer, Ethan leaves his normal everyday and decides to follow his quest in search for his son, trying to succeed in time, before Shaun dies.
ACT TWO
Progressive Complications The second act does not really begin until Shaun goes missing. Because of Shaun's kidnapping, the story develops through a series of complications and obstacles. Ethan embarks on his rescuing journey and goes through five different obstacles that the player can choose (Tough Choices) if they want to follow the Origami Killer rules exactly, or trying to solve it in a different way. In parallel with Ethan’s conflicts, the other characters are solving their own obstacles (A Balanced Cast) while searching for more clues. Madison has her encounter with Ethan and begins to help him on his journey.
Midpoint Sequence When everything seems very bad in Ethan’s life, the midpoint sequence starts with the police suspecting that Ethan is the Origami Killer, because of his psychological condition. After that, the rest of the game is remarkably more difficult (Major Sequence of Action) considering that the cops keeps trying to arrest Ethan during all his rescuing journey.
Second turning point
Ethan needs to follow your last choice, deciding if he will drink the poison – which will leave him with only one hour of life – that the Origami Killer offers to him, in exchange for revealing where his son is hidden. (Set Up/Pay Offs & Convincing and Empathetic Antagonist). A quick background story of the Origami Killer is presented.
ACT THREE
Climax Is revealed to the players that Detective Scott Shelby is the Origami Killer. Depending of player's choice in other moments of the game, Ethan will finally reach the place where his son is held. If Ethan died before this, or didn't find all clues about his son’s location, Norman or/and Madison will confront the Origami Killer.
A Crisis Decision
Ethan is confronted by the Origami Killer and needs to decide whether to follow him to not let him get away, or whether to save his son who is trapped in a well that is filling with water.
Resolution
The game ends with an epilogue showing the scene of Ethan moving into a new apartment with his son. Ethan asks if Shaun is satisfied with the new house and Shaun says: “It doesn't matter where we live, as long as we’re together.” If the other characters in the game have survived to the end, their story are also presented in a positive or negative way, according to choices that the player made during the game.
[button type="icon" icon="paper"]Written by Matheus Pitillo.[/button]
Release Date: July 26, 2011 Developer: Atlus Persona Team Publisher: Atlus Genre: Adventure / Puzzle Plataform: PlayStation 3 / Xbox 360
Ok! Let's clarify a few things before anything else. If you are looking for a hentai game, with naked characters and sex, then get out of here and do not continue this review. Catherine is not a porn game. The most you will "get" is the cover image of the box art.
Have you ever cheated before?
Hmm! If I've betrayed before? Wait, what is to betray someone? If I only had one night of sex with someone else, but without love, it is considered betray? Vincent, a man of 32 years old, which is already in a stable relationship for 5 years with his girlfriend Katherine, goes through the same confusion in the game. The whole game is presented as a television program - Golden Playhouse - through a mix of scenes in anime, parallel to the incredible 3D cinematic.
Early on in the game, Vincent is in a discussion with his girlfriend Katherine. She says that both of them are on the same level of the relationship a few years ago and that she would like to go one step further in this process, citing the idea of a marriage. The moment the boy is taken by surprise by this suggestion of his girlfriend, a flow of confusing thoughts arise in his mind, questioning whether he is ready for all this responsibility, or whether to keep the field he is already familiar with in their relationship.
Frustrated with all the pressure, Vincent meets his best friends in a bar - which by the way is where much of the game takes place - and begins to drink to distract his head from these problems. A lot of drinks later, he don't know how he came to his home, and when he wakes up from a strange nightmare in the next day and looks to the other side of his bed... BOOM!!! Someone is there with him.
Vincent betrays his girlfriend Katherine with a young girl, blonde, blue eyes, perfect body - in other words, the stereotype of the ideal girl - and when he realizes, he makes it a daily habit and don't know how to control this situation. And to top it off, the new girl is called Catherine.
Not knowing what to do, Vincent continues his decisions throughout the game, couldn't decide whether to sever the relationship with Katherine and following an "adventure" with the new Catherine, or whether it should assume its responsibilities and accept the new stage of life as a responsible adult.
What is most interesting in the game is the way each character behaves and how we are really faced with real situations of human relationships. It's awesome how the game treats Vincent in his confusion in the process of maturing as a person. And the huge difference between the personality of Catherine / Katherine is also a key point in this game, which you as a player, can choose what choices to take, and which way to go, assuming your own consequences.
A Puzzle Nightmare
The game progresses in a space of nine days, in which you control Vincent in two different realities. While awake, you have control of the character within the Stray Sheep Bar, in which you must communicate with other people who are there, share information, better understand what are these supernatural cases that is happening in the city and, beyond to talk to your friends, read and reply to messages on your cell phone, which will completely change the history of the game, depending on the choices you make.
In moments that you back to your home and sleep, are the most active part of gameplay. The Main Gameplay takes place in Vincent's Nightmares. Unexplained deaths are occuring among men of different ages. What they say is that if you die during your nightmare, you will not wake up anymore. Freddy Krueger sends hi??
These Nightmares are organized into puzzle stages. Everyone who are in these nightmares are represented as sheep. Vincent - in a sheep form - must climb up huge staircases against time, to reach the top, before the whole place collapse. To accomplish this, he needs to pull, push and climb blocks the faster as he can, while avoiding various different kinds of traps. In the end of each group of stages, Vincent needs to confront a boss, who represents his deepest concerns of the previous day.
At the end of each level, Vincent has to enter in a confessional and answer questions related to relationships. Is really cool because when you do your answer, one table with percentage values emerges, showing what the vast majority of other players answered. And so the game does a search based on human behavior upon the response of each player.
The whole game revolves around betrayal, statistical data, consequences and on social punishments of that. The coolest thing is that from beginning to end, all your answers will be evaluated and influenced in the flow of history. Even in what Vincent will think about his relationship with Katherine and attitudes of upcoming.
Love is Over Catherine scored big points for creativity and a depth story. Although often a subject always present in the lives of almost everyone, the way the game creates this scenario and its characters, makes the game be a rare piece from the majority.
The game has an amazing art direction, with very charismatic 3D models, full of bright colors. Is it clear that the emphasis is to the anime scenes, which are really impressive. But the production art of the game managed well to put the two things together during the game.
By contrast, although the game's soundtrack is composed by beautiful classical music, dubbing and synchronization of the game fail in a few moments during the dialogues between the characters in in-game scenes, especially early in the game. Is not something that actually makes you uncomfortable, but is remarkably in the beginning.
If you enjoy a good puzzle game and is addicted to anime and Japanese culture, Catherine has been done for you. Or if you just want to play to better understand what might be the consequences of a betrayal, feel free. Maybe that way you think twice before...
My Personal Score: 3,5/5
[button type="icon" icon="paper"]Written by Matheus Pitillo.[/button]
Author: Jesse Schell Publisher: Morgan Kaufmann Paperback: 512 pages
As I said in my last post here in Life at VFS, the school recommended us to read some books to be prepared for classes and for our work in the Game area. So I decided to start my first Book Review with one of these recommended books. It's hard to me to review a book, as I never done this before, so I hope I can explain well what I'm trying to express here, ok?
How to teach about Game Design if this is an enormous subject, without beginning or end, and totally non-linear? There isn't one simple and correct way to teach how to create a great game. It's not like just say "do this" and everything is going to work well, since games involves a lot of characteristics from a lot of things. It seems a movie, with images and story from behind, it seems a book with some amazing narrative, but also is playable, is interactive, and changes with every choice of the player. But the hardest part of it is to understand what the player really like and search for, to have pleasure with this final product. Is too hard to just find the perfect recipe for success that will work for all tastes of all players. That's why a lot of books that try to teach about Game Design most of time don't have it completed successfully.
Jesse Schell is a Game Design Professor at Carnegie Mellon University and Executive Director of Schell Games - the biggest video game studio of Pittsburgh - with The Art of the Game Design, he shows that the technics to create a good game are around us every time, in every moment of our lives. He knew how to teach us in a non-tiring way, and with an amazing writing, the best fundaments that we need to know to formulate a powerful game for all tastes.
Wait! What the book is really about? First of all, this isn't a book of Game Development. The author will not teach you about art, 3D modelling, programming or anything like that. All the writing is focused on Game Design: its mechanics, technics, iterating etc. And this is the best differential of the book, comparing to others with the same subject.
In one hand we will see from beginning a single map be transformed by every chapter, until complete in the end a full map with new concepts and technics. With this you can learn and create your own game following each one of these informations. This map allows you to understand better how Game Design is divided and how you can use it well. Even seems too hard to understand, the book explains very well every step by every chapter.
And in another hand - and not less important - the book presents a series of what the author calls of "lenses", or questions, that you can use in your game, or what you can ask about your game design, to see if you are following correctly the way of production. These lenses were very well studied and created with amazing concepts and technics that even new Game Designers can understand easily and start to use it on their own games.
The book starts with the basics concepts of Game Design, with the main examples - mostly with traditional board games - and then teaching about game mechanics, interface, puzzles etc.
It's normal to see the author citing moments of his life in which he used as an example to all his next creations, proving again that the game design is present everywhere. And exactly because the book is so transparent as well, we can feel that every moment is like you are having a dialogue with the author. It is interesting how the reading and accompanying of the book is simple and easy to understand, despite being so dense and with so complicated matters - especially in the chapters about the mechanics and interface.
The 100 Lenses
During all pages of the book we will learn 100 different Lenses, also know as 100 sets of questions that will help you improve your game. The more interest is that these lenses are collected from so diverse fields as architecture, music, psychology, film, anthropology, etc.
It's amazing how the author decides to teach us with a deck of cards. For us, players, what is best then one organized "game", with illustrations, informations and very well content? The "players" can buy the Deck of Lenses on the author website, or download the app for Android, iPhone, iPod or iPad, reading everything directly in your mobile.
I've tried the Deck of Lenses App on my iPhone, and I can say it works very good and it's great to have it with me all the time in hands. They have the same illustration as the real cards and are organized between category, alphabetic order etc. I do recommend to everyone too.
The Book Synopsis
"Anyone can master the fundamentals of game design—no technological expertise is necessary. The Art of Game Design: A Book of Lenses shows that the same basic principles of psychology that work for board games, card games and athletic games also are the keys to making top-quality videogames.
Good game design happens when you view your game from many different perspectives, or lenses. While touring through the unusual territory that is game design, this book gives the reader one hundred of these lenses one hundred sets of insightful questions to ask yourself that will help make your game better. These lenses are gathered from fields as diverse as psychology, architecture, music, visual design, film, software engineering, theme park design, mathematics, writing, puzzle design, and anthropology. Anyone who reads this book will be inspired to become a better game designer and will understand how to do it."
- Jesse Schell
Easy reading, easy to understand The first time that I've listened about the book, I was in my old job, when I asked for a suggestions about books with this subject, and another Game Design friend of mine recommended The Art of Game Design. Since then I'm always using all tips and technics that the author presents to us. And it's not to be surprised that the school recommended this as one of the main books to study.
In my opinion The Art of Game Design: A Book of Lenses is one of the most powerful Game Design Books that I already read and seen in the gaming market. The easy reading, with a lot of amazing content even with just 512 pages, teach any new or old Game Designer the main principles that we need to know about Games and how to create a great one.
So, for any Game Designer, I truly recommend the book. I hope you can enjoy and learn so many things as I did.
Release Date: November 1, 2011 Developer: Naughty Dog Publisher: SCEA Genre: Action Plataform: PlayStation 3
When we play Uncharted 1 for the very first time, we feel the sensation that we never saw a game with such a amazing graphics and scenarios full of so realistic nature. Then comes Uncharted 2, which can offer to you graphics even better and with a so distinct narrative that we never saw in a game before, as they can present to you the story in the same time that you are playing and controlling your game character. And finally, when we are thinking in how Naughty Dog could give to us a new Uncharted with a lot of surprising things like the old ones, we will never expected that would be this all. However we could find that the game would be great, we would not expect how much he really was amazing. And that's why I'm always saying that Naughty Dog is one of the most incredible game companies that I know until now, and of course, like me, must have another thousands of people dreaming to work there someday.
Uncharted 3: Drake's Deception have the same initial plot focused on something that is always in the games of the series. Nathan Drake is in search of lost treasure in a mysterious land in the middle of nothing desert and for that, he have the presence of his inseparable friend Victor Sullivan. But even coming with the same cliche as always, this time we notice that the main objective of his search in the story is not exactly just the treasure, but actually the answers for some unsolved questions that Nate are carrying for so long. The story is much more! Is about Nathan's life, his feelings, what he believes and how proud he can be, at the point of risk his and his friends lifes.
In some way we have two opposite opinions here. This screenplay is one of the most vague of all, or one of the most strong? I’m saying that because differently from the other previous two games, you never feel that you are really searching for the treasure. Of course you are going to find tips of how to find the correct place that the treasure are, you are dealing with enemies that want the same as you, and you are risking your life for that. But during all the story, I don’t feel that the main characters really want to find the precious treasure, like in the old games. And that’s why I’m here questioning myself if it is something good or not. Since in all the others games of the series we are always seeing the same plot. It looks like that Amy Hennig - game director and script writer of Naughty Dog - finally made a story that absorbs players into something more intimate and exciting.
The Little Thief
Soon after the first scene of the game - which by the way is set in a Pub in London - in the end of the first chapter, we are led to the first steps of Nathan as a little thief and treasure hunter. We can control the Nathan of 20 years ago through the colourful streets of Colombia, and better understand how his childhood was influenced for everything and how he met Sullivan and started his friendship in a uncommon way.
It's interesting to learn how was Nathan's life, and all the difficulties that he passed. And it's amazing to see how the story take all the old characters of the old games and put then together in a natural way.
One new character is presented too, and she is the villain of Drake's Deception. Her name is Marlowe and she's in Nate's childhood too. Marlowe was the first woman villain in Uncharted series, and she can be both a manipulative woman, also a person who cares about Nate in some strange ways. She want to find the same treasure that Nate are searching for 20 years ago.
Visual richness in all aspects
Every time Naughty Dog focuses on a different main ambiance. The first two games we were surprised with a great realistic nature, water and ice scenarios, respectively. This time, graphically, we can see that they made a big upgrade with more realistic scenarios, and presenting for the first time one huge desert full of sand effects. With all references that the team searched for, they were capable to create realistic real time sand physics, presenting exactly how the sand reacts when someone walks on it. It's amazing and indescribable when Nate walks around the desert, trying to stand firm and survive while walking with no direction.
The Level Design team had a lot of research based in all scenarios to make them the most realistic possible. Every detail has been thoroughly studied, able to create a very realistic atmosphere for every place. They visited cities such as Cartagena, in Colombia, Pubs in London and even castles in Syria, to create the most realistic possible the new scenarios of the game. And the result that they had have been really impressive. The wealth of detail is such that reminds me some times the game Assassin's Creed, but with brighter and more vibrant colours.
But as if that's not enough, Drake's Deception can impress us even more with all the light effects and render, that we had never seen in PS3 game so far. It's impossible to don't agree that we feel like we are seeing a playable hollywood action movie in real time.
Barbie, the new generation
If have something that Nathan doesn't cease to do in Drake's Deception is to change his clothes. I was taking note every time that he appears using new clothes or just swapping between the old ones or adding a new accessory. Naughty Dog was not stopped when it came to creating new looks for our hero.
Throughout the game, Nate ranged between visual as a elegant black smoke, his jeans and green T-shirt for use in forests, long sleeve white shirt, then adding a Blue Palestinian scarf for levels in the desert and, finally, returning to the traditional green T-shirt.
A new cherry in the old cake recipe
Overall the game follows a very similar gameplay to the already known in the series. All progress through the game is presented by a gameplay that tricks you with a false freedom that doesn't exist. As different as your fighting may be, the end result will always be the same, looking like you're following a rhythm of quick-time events. But what benefits these pace of play, is that the narrative can convince you that you have control of your choices and in the end what matters most are the scenes that you saw through its results.
This time the game also focuses on melee combat. It is clear that the moments of great tension and firing are included in the game as always. But now you also have the option of attacking your enemies with many different types of scams, and even steal their weapons and grenades during your defence against the enemy attack, and your own counterattack.
Another thing that makes the gameplay more fun and variable is how the level design is very important for the gameplay. This time you have more option to take advantage of scenarios to use them in your favour, dodging the blows of the enemy, climbing platforms and even taking advantage of object scenarios to attack your rivals, for example, using chairs and bottles.
Of course we see some glitches during the gameplay. One of the most notable and frequent is during the horse fighting level. Sometimes we can see that is impossible to Nate jump in the back of the horse from where he is, and then, even so, he just appear on it like everything was totally normal. By the way, this level is amazing!
In general the gameplay changes between action and puzzles, with great well-built cutscenes, making you feel like you never spend so long on just one activity during the game. They knew how to mix all chapters in a way that you don't want to stop to play the game until you solve everything. Even though the game follows a linear sequence, and without many difficulties.
Without wasting more time, I might add that the soundtrack is also something that deserves our congratulations. All the action scenes were perfectly represented by the music, as well as the most sensitive and quiet scenes of the game. What about voice acting, Drake's Deception also remains with the impeccable quality of the previous games, but maybe a little disappointed in the language voiceovers in Portuguese-BR, because of some inconsistencies with our true language.
Naughty Dog Lovers
The Uncharted series has always been a good option for the worshipers of games, the curious, and especially for Game Designers. The extras with several making-of in the game are still available. Not to mention the variety of options for dubbing and subtitles in several languages, including our Portuguese of Brazil.
It's clear that the game - as all of them! - has some failures. But I believe that the qualities that the same gives to the players and all the affection and love that we can see in the production of it, makes any slight failures be acceptable to the point of putting Uncharted 3: Drake's Deception in the list of one of the best games ever developed.
My Personal Score: 5/5
[button type="icon" icon="paper"]Written by Matheus Pitillo.[/button]
Game Development:
Home productions of Flash Games that became hits Also published in EGM Brasil #73
The column Game Development have the intention of presenting to you readers, that Brazil is also within this network gaming creations with both more complex tools and games with greater highlights, as well as easily accessible tools - plus fast, simple and dynamic.
In this edition we will talk about the production of homemade games made in Flash, the opinion of a student who is in the business and also about games that have become successful and adapted for other platforms.
From Web to Consoles
Currently there are several sites that offer to us the possibility to play games developed in Flash or Shockwave. These games are known as Webgames. Some of these games don't stand out much, having low numbers of visits and little or any interest by the public. Other stand out a bit more, getting more public attention and is best seen. But there are also those who can "evolve" to a bigger step.
The game Alien Hominid is a great example of that. The title began as a Flash Game on NewGrounds website. His concept was based on some classic 2D shooters like Metal Slug and Contra. It was so successful that eventually launching a full version and turbines for various consoles, including PS2, GameCube, Xbox 360 - Live Arcade - and Xbox. And from a "simple" Webgame - he and some other games - turned out to be playable on the most famous consoles.
Original Publication in EGM Brasil Magazine
It is everywhere
Ok, maybe I'm exaggerating a little. But at least in much of the online universe we can see many traces of Flash. Interfaces of sites, opening animations, cartoons, online tables, business demos, Webgames, Advertasing Games...
Starting with Advertasing Games - simple games that want to spend the advertising message of a product - such as the goal of these Webgames are one, to disclose the product, most of the time these games are placed on their sites and are made in Flash, because most of them are lightweight and thus access to visitors is much easier. But that doesn't mean that the Shockwave is also not always present there. We could say that both can be found in the objectives of creating sets of large companies. An example is the national company Devworks Game Technology. The Devworks is focused on developing games. The company produces for various platforms, as well as offering entertainment, activities for the use of games in marketing, training, etc. Devworks has produced several games for advertisers who want to increase the visibility of their ads, both with creations in Flash, and Shockwave - in this, bringing more quality. Currently Devworks is the company with the largest customer base of Games in Brazil. Customers include Nestlé, Nokia, Oi, Disney, Coca-Cola etc.
"Our main product is Gametrack, which was produced in Flash and Shockwave" - says Marcelo Carvalho of Devworks Game Technology - "The advantage is that these games are faster to produce and have a good compatibility with the machines that will run , also does not need to install. There are some disadvantages of course, they do not allow very complex games, such as 3D games with high definition. The gaming performance can also fall short in some cases, but in general it's fine to go a long way programming in Flash and, even more in Shockwave, because it has 3D built-in and the performance of lingo script is fairly good".
Another example of company that follows the same path is Atrativa. It offers direct access to a public that can be handled interactively and segmented like no other communication vehicle. Atrativa have a higher mean retention of Internet users. There are more than 30 minutes per visit. The company employs forms of advertising that harness the Internet's potential to maximize the results of your marketing campaign and achieve their goals.
Closer and more accessible
To create Webgames, and for sale of services, promotion of products and even for production of home games. This is how Flash and Shockwave is taking over more and more ground in this field of Game Development. "We used a lot the softwares Flash and Director in our first year course in terms of programming." - Says Rafael Schleder, a student of Technology in Digital Games at PUC-SP - "With Director we realized that we could use our 3D models we've produced during the year of the terms of 3D modeling and put them in our games, enabling us to create projects more differentiated, having just a sufficient knowledge of programming. And in the end we realized that even with these tools that are always present with easy access, we can also create games very interesting. "So, here's a tip for those who are thinking of entering the area and don´t want to burn many neurons.
[box type="info"]Shockwave Vs. Flash
First of all, games in Flash and Shockwave are the same thing? No! Many tend to confuse these two software, which although they can do almost the same, they have some very different details. Most of these differences are directly related to the origin of the two file formats. To create Shockwave files, it uses the Director to generate files in .DCR, and to create Flash files, the format is .SWF that is generated by the programs Flash, FreeHand, Generator, among others.
The main differences are:
Flash files load faster than Shockwave files;
Shockwave is more versatile. We can create more complex games with more details of animation, 3D content and more interactivity. While Flash is only able to create 2D games;
There is a greater variety of file types with Shockwave. You can import a Flash file to a Shockwave movie, but the reverse is not possible;
More than 90% of Web users have the Flash plugin, which makes it more accessible and more knowledge of the public, while just under 60% have the Shockwave plugin installed;
The program for creating Flash is much cheaper;
Flash is an open source format. Anyone can see how it works and is open to changes. The Program Director uses a compiled file, which makes hard possible modifications.
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[button type="icon" icon="paper"]Written by Matheus Pitillo.[/button]
Release Date: November 20, 2011 Developer: Nintendo Publisher: Nintendo Genre: Action / Adventure Plataform: Nintendo Wii
To criticize about a game so strong and expected as the Zelda series, requires a lot of responsibility on the part of the writer. Of course, anyone can pick up a paper - or in this case a blog! - And write whatever they want, without using foundation or even trying to prove and to invent new reasons to justify his criticism. This does not mean that an analysis is worth more than the other, but what should be taken into account is the responsibility brought along with his words. And it is thinking about this aspect that I start my review on the newest game in the series The Legend of Zelda. This time the long-awaited Skyward Sword. I believe that many may not agree with my opinion here, perhaps taking it personally and not accepting that one can negatively criticize this game in some aspects, but I hope you understand that analyzed not only the side of art, as well as technical aspects.
A friendship in the sky
A letter of Zelda comes to Link early in the game. Unlike expected, is not a distress call from the young princess, but a warning reminding you of the event between both of them. In this new adventure, Link, Zelda and the other characters do not live in the famous land of Hyrule. His new place is called Skyloft, an island that floats above the clouds in the sky. And as a floating city, the whole aspect of art, gadgets and buildings are based upon this concept. The main transport of people are already trained giant birds known as Loftwings. And, of course, the bird of Link is different from the others, causing him to suffer prejudice on the part of the town troublemakers, and compliments on the part of Zelda, her best friend from childhood and, until then, it is not a princess.
It is interesting to note that the timeline between this, with previous games in the series, follows a disordered flow. By the way history is presented, makes you believe that Skyward Sword takes place before the events of Ocarina of Time. No one can say that all games follow a sequence and complete in itself, but somehow if we were put in a timeline, that would be what makes the most sense so far, taking into account that the inhabitants of Skyloft not know the "world below the clouds", and that fear was like hell down there and was just a legend. But of course that is not enough to Zelda. She believes that there is a whole new world down there, and that even the other calling that place of legend, she was always curious to discover and prove their veracity.
Dialogues here, childish taunts there and some disputes in the sky - which is also one of the coolest thing in the game! - While Zelda and Link are talking and flying over their giant birds, a strong whirlwind comes and sucks the girl down there. So Link must leave for his childhood friend and uncover the secrets of the world below the clouds, finally discovering the evil land of Hyrule. To do this, Link meets Fi, a spirit of feminine appearance, created by the Goddess worshiped in Skyloft, which inhabits the sword of Link. She will guide Link on his journey, providing information necessary for its advancement, helping at certain times of the plot.
It is noteworthy that unlike The Wind Waker, which we sailed in a boat, fly in your Loftwing in Skyward Sword can be an amazing experience. To begin the flight speed does not compare to the time it took the boat to cross the oceans. Flying is something magnificent, practical and fun. All control of Link's Loftwing is made with the movements of the Wii Remote. And the feeling of weightlessness for the variation of speed is something that really responds very well. Not to mention how fun it is to run out of the floating island and jump in the clouds, calling your bird with a whistle and flying freely in the sky.
When the Legend evolved Create a new game for an old franchise requires a lot of the developers, especially when it is considered a legend. What is better? Risk and develop points that have always been well-regarded in the series, but trying to innovate with what is already offered for the new generation, or keep the same rate as the previous games and be sure it will be a good game, but without any great new? Luckily Skyward Sword tries to mix a little of both and can evolve, but without slipping and risking too much. The present developments in the game are rather details that bring a more positive aspect, but it's nothing that really stands out as a great new differential, which finally could have been.
I would rate this new Zelda as an Action / Adventure game with new RPG touches. I say RPG because now this is an evolving system of items and equipment that are based on the collection of other specific materials during the game, such as jewelry, captured insects etc. You have the freedom to evolve what equipment you want and even to have a stronger shield you should evolve it or use one that best suits in the environment you are visiting then, remembering that now shields can break depending on usage unbalanced. Again, I sort as an RPG game because even the narrative of the game in the end of everything just follow the same line, the way everything is presented and the fact that Link remains a "dumb" character, makes this game even more closely matches in the genre. This inclusive, are details that should have been better observed by the creative team. First, why to offer the player a choice of answers that Link could give during the game, if all the answers will lead to exactly the same result, only changing the tone of the conversation? Or, before all the fantastic art direction and soundtrack of the game, why not this time progress and not risk a little more and dub the voices of the characters eventually? Even if that dubbing follow a dialect unique and special, as the character Fi in the game features. Well, these are questions that will be left unanswered for now...
Still treating of the technical side I must confess an initial shock that I had when I play the game in Nintendo Wii. Unconsciously, it comes to the current generation of Video Games, we are frightened when we see graphics that do not correspond with those of recent games. My first impression to start playing Skyward Sword was that something was wrong with my television. The graphics did not look beautiful, the textures are presented in low resolution and jaggies, wow, how many jaggies! But I can guarantee that after 20 minutes your whole outlook changes and the game begins to convince you perfectly, because you see a great affection in every little detail of the scenarios, colors, art direction, great level design and creativity with everything. The game features a color palette to envy others. Combining this with superb soundtrack managed by Koji Kondo, we can't criticize the game and not drooling for each new second. In my opinion, is definitely the best soundtrack of the game series The Legend of Zelda.
As we are talking about technical developments, another major difference is the new gameplay that the game presents. Attacking using Link's sword is now much more fun. Finally, with the help of the Motion Plus, the game has more accurate controls - as far as possible! - Ensuring that the movement of the sword will follow the same direction and angle that you do holding your Wii Remote with your hands. The feeling of lifting your Wii Remote over your head and see Link doing the same movement while charging the energy of the sword is amazing. Cuts are allowed horizontal, vertical and diagonal from left to right or vice versa, while the Nunchuck is responsible for the control of the shield on the other hand. And the coolest part of all this is that "with great power, comes great responsibility" and, therefore, the enemies have different strategies to combat them, which vary for the position that they defends or attacks. In fact, in the case of a difficulty curve, I found that the Skyward Sword has the greater initial difficulty in Zelda games series. I emphasize the word "initial" because although the game begins with a difficulty curve strengthened, everything ceases to exist going forward. Despite going Dungeons becoming increasingly complex, lengthy and at times even boring, the bosses in the end of each Dungeon possess a decreasing level of difficulty, which is unsatisfactory.
The Goddess Oracle
During the search for Zelda in the World below the Clouds, Link comes across another character that is also behind the girl, in which he refers to as the Oracle of the Goddess. The character, known as Lord Ghirahim, is the villain of the game and aims to resurrect their master, and for that, somehow need Zelda.
Lord Ghirahim can be one of the MOST BIZARRE villains of all time. Possessing feminine traits, haircut "trendy" and clothes that seem to have gone out of the closet of Lady Gaga leave it even stranger. The objectives of the villain are not fully disclosed at the beginning of the game. All we know is that Zelda is one of the chosen and possess a very vital role for both the Goddess and to generate enough energy to revive the great master of Ghirahim. So besides having to go in search for Zelda and understand everything that is happening, Link must also be present in time to protect the girl from the surprise attacks of Lord Ghirahim.
One of the sacred objects in Skyward Sword and that inclusive is Zelda that handling early in the game, is the Harp of the Goddess. It would be the equivalent of Ocarina in Ocarina of Time. During the game you also learn to play different songs on the harp, and the entire command is controlled by the Motion Plus, simulating the motion of strumming.
The Hero's Journey Throughout all his journey and his goal of save her best friend Zelda in the World below the Clouds, Link begins to realize that there are more secrets than he could imagine. He realize that Zelda also has a mission and it will not give it up until she finish her goal, regardless of the new danger that she is running. New alliances are emerging, proving that Link is not alone in this. But to achieve your next step, the energy of the Triforce is put into practice again, forcing our hero to find within you the Strength, Courage and Wisdom enough to be able to complete this additional challenge.
While I analyze in a positive point the way that Triforce is presented in Skyward Sword, showing that Link must earn that power to move on, there is another point that disappointed me a little and added a lot of negative way for the progress of history, which is the repetition.
Okay, this new Zelda is probably the largest Zelda Game ever launched before. The total time of the game is huge if you complete all the goals and extra check for all items, and even then only if the linear narrative of the game duration is also very rewarding. However, there are several completely unnecessary moments or ways that developers justified to extend the plot. If you are one of the players that, for example, didn't like the forced repetition of the game Folklore (PS3) in return for their game scenarios, you end up feeling uncomfortable about it around here too.
After completing the initial and main Dungeons in the game to finally get to earn and acquire the power of the Triforce, Link must travel again for each of the Dungeons and achieve what is asked in the game. Of course, the scenarios change in some respects, but nothing like it so much that the players need to "recycle" level designs that at first impression, was seen in a good way. The obligation to follow the same steps again, give to Skyward Sword a downside to the game.
Still, even with some technical problems, repetitions or even that feeling that could have been a game more evolved compared to previous series, The Legend of Zelda: Skyward Sword can stand well with an impeccable art direction, a level design to let anyone open mouth, and keeps on top, or rather, above the clouds, proving once again that the LEGEND remains as a Legend.
My Personal Score: 3,5/5
[button type="icon" icon="paper"]Written by Matheus Pitillo.[/button]
