Okay! We are set to make a game. We know what the premise is, we have our equipment ready and a good environment to work in, so what’s next? Jump in and start modelling? No! Hold your horses there. As discussed before the key to success is planning, and to that end we need to set out a few things before we begin the actual construction phase.
We need to decide what path the player will take, what obstacles they should encounter, whether there are any shortcuts and the all-important mechanics of the gameplay. However, before we start we need to set the tone. What does the player’s in-game environment feel like, are there any notable visual cues to allow them a sense of familiarity or impending doom? I’m not talking about specific structures here, although important to keep in mind. I’m thinking about colours and their emotional impact.
I’ll add a caveat here. The process I’m describing may apply to indie artists and small studios but can vary wildly, especially as the teams become departments. You are acting as the client, creator, art director, engineer, artist, musician and UX developer. With that in mind, I’m running through this course in a fairly linear process, in an attempt to give you a grounding in the overall story of game development.
Back to the topic in hand, which is the look of the game. The concept and brief define certain aspects of this, so let’s start there and see what we need to add.
We know it’s planet based, in a valley, with varying areas, and that the player needs to travel along a path from point A to point B. We also know it needs to be an open-world but with a fairly clear path for them to follow. There need to be small hints towards either an ancient or alien society.
Esta historia es de la edición July 2020 de 3D World UK.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición July 2020 de 3D World UK.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
RenderMan 26
Knowing that the journey for Pixar’s RenderMan software began 37 years ago feels mind-boggling – but it’s still at the top of its game.
Visualising Einstein's past for Netflix
Lux Aeterna honed its expertise in CG to bring the famous physicist's memories back to life for Einstein and the Bomb
BRANCHING OUT
Whiskytree founder and CEO Jonathan Harb lifts the lid on the studio's story and its phenomenal success in turbulent times
CAN I CREATE SMOKE OR FOG EFFECTS ON A MOBILE DEVICE?
Liquids, fur, hair, steam, smoke, fog, fire, magical effects and so much more are all daily requirements in most 3D packages, but are almost always created with a particle system of some type.
Fusion Studio 19
Now in its 10th year under the wings of Blackmagic Design, Fusion Studio is stronger than ever.
DaVinci Resolve 19
There are more choices on the market than ever when it comes to picking your favourite video editing software.
Tribute to a sensei
The team at French visual development and game studio Umeshu Lovers walk us through creating their Akira Toriyama-inspired April Fools' demo
DEVELOP ELECTRIC ATMOSPHERE WITH LIGHTNING EFFECTS
Rob Redman delivers a bolt of brilliance with a quick guide to giving your scenes a high-voltage feeling
BUILD A SELL-OUT STADIUM CROWD
Mario Leone takes to the stage with a step-by-step guide to creating an arena full of cheering people in Houdini
DESIGN AND RENDER A SPELLBINDING CHARACTER
Ivan Mironenko shares his process for creating a captivating figure in a bewitching scene