Obviously, you understand the bigger picture and know that this is just a simple example, to illustrate the challenging process of developing a better video game. A few months ago, we asked an interesting question from developers around the world: What do you think seems so simple about gaming; "But is it really very difficult to develop and create?" We received more than 100 different responses from experienced people and independent developers who have struggled with such problems in teams of 100 people. It was the same. The people we talked to mentioned various aspects of game development such as graphics, sound, storytelling, interaction with objects, menus, game storage system and multiplayer section as difficult challenges. Many said they had received serious threats from players about the design of these sections, and many in the audience were asked the question: "Why aren't you doing something to make the game?" The answer to this question is always the same: "because it is very, very difficult to do so"
If you have ever wondered why your favorite game maker does not simply release an update to fix game problems, you should keep in mind that sometimes solving problems Which are simple in your opinion, very difficult. Here are some basic challenges when developing a game that you would not think would be so difficult to solve. We have dealt with the difficult doors of video games, but it is better to look at them under a more general heading, and those are the elements that allow us to move from one place to another. For example, an elevator has exactly the same function. Many developers have talked about how elevators are developed and have challenged the types and varieties of them, such as the one that takes the player from floor to floor and at the same time displays a loading screen. Bill Gardner, who created and directed the game at The Deep End Games studio and also designed the Bioshock game stages, talks about the problems of building an elevator:
"I must first say that you need to call the elevator with a button or whatever. By doing so, you create an opportunity for the player, objects, or artificial intelligence to grasp the nature of the process and create fundamental problems when activated. Well, you have to deal with this new problem by accident. The elevator is an invitation for you to have to make enemies or characters mindless or meaningless, or objects to fly in the air all at once and the items in the missions to be stuck there forever. To solve the problem, let's eliminate artificial intelligence when using the elevator. So what guarantee is there that everything will go logically after entering the elevator? We will see that the objects will either stand still or behave strangely.
Well now think about taking your elevator to several different floors and then you have to create a special queue for people to implement. . Well let's say you decide to go out on the second floor and then you go out and press the button again. Then you will see that the elevator is busy and you have to wait for a while. If you do this, you will see that the player is interested in receiving an immediate response and reaction, and as a result the chances of the audience getting bored and calling your game defective are very high. Let the construction problems in the elevator and what happens when it is opened and closed remain the same! In their portfolio, they have encountered a similar problem to what Gardner put it: creating an entrance to a virtual reality work; Fortunately, they have been able to fix the problem by creating a new feature. "One of the bugs happened when someone wanted to go through the door and at the same time another player wanted to open the door, it's a similar situation," says Bill Ferrer, the studio's artificial intelligence engineer. That two opposing forces are facing each other: a moving object versus an unstoppable force. Our solution was to break down the door and thus create a shocking moment. The result was actually a gratifying mistake. "
Well, if the door and the elevator have such a complicated mechanism, why not force the player to use the stairs? Josh Davis of Drinkbox Studios believes that stairs have their drawbacks: "Stairs may not be as complicated as the front doors, but they sometimes cause a loss of dynamism and immersion as you move around. I told myself that they were just a simple ramp; But they can make it difficult to jump and move, because the angle of movement is different in this case. Climbing stairs is difficult for us as developers of 2D games; "Because we've had a lot of bugs coming up the stairs."
So far we have come to the conclusion that in-game player transfer tools can be a nightmare, but there is another type that causes developer torment: platforms Mobile. "It's not hard to move a player with a handle, it's also easy to move him on a platform," says Doki Doki Literature Club game developer Kyle Dunley. But when you combine the two, you will find that you are now dealing with two completely different tasks. For example, what do you do if the platform takes the player to the ceiling or kills him at all? Or even cause the game to crash? Or should the next part of the platform, which takes the player down, have the same function as before? You can also add multiple platforms to this equation, for example if the player is standing on two platforms moving in opposite directions, then the person must be cut in half? When you decide on the movement of these platforms, then you will see that Other problems, such as physics and usage, come in handy.
Well, let's not worry about platforms and platforms at all. That's not hard work, is it? Known Unknowns Worlds game developer believes that normal walking can also be very complicated and cause serious development problems: "It's not hard to write a code to get the character moving; But you have to be careful with all the inputs to get a satisfactory result. It took a long time to find the speed and speed of the character. Just a few weeks ago I found an interesting bug in this case, sometimes the player freezes when jumping and in the middle of the air. It turned out that the problem was the code written for the move, which we have been using for seven years, and had a strange bug that if the hardware was running fast, the performance would change. "Everything was fine until you got to 200 frames per second." Was. This means that simple tasks such as the removal of an object by a character or the connection between two characters can be incredibly complex. "Objects are not really real, they have no density and no physical boundaries. If a character has to pick an apple, then the designer has to go," says Ben Wander, one of Airborne Kingdom game designers. Do something so that the fingers are around the apple. So now imagine if we want to put a kiwi in our hand, then a different animation has to be created. This is why objects are often not displayed inside the camera or when a character's hands are placed inside a gate or hatch.
" Audrey LePrince ", the founder of Game Bakers, who worked on the game Haven, is quite familiar with the problem. This game is about a romantic couple who have close feelings and the physical connection between them continues until the end of the game. "It's also difficult to create moments of touching, holding hands and hugging in movie scenes. If you want to do that inside the game, then it will be a nightmare," he says. "Haven is a good example, and while many people think it's easy to do, we should have more of these in-game video moves." "Caressing animals," he points out. In recent years, many have requested petting dogs or other animals into video games; But doing so is very complex, and can cause serious problems for AI and the user interface during communication. The interaction of objects and characters can be problematic, especially if you want to bring realism into the game. One of these challenges is having two characters at the same time and doing two different things. Communication between two characters requires complex animations, and animations must be designed frame by frame to solve the problem of placing characters. The problem arises when such a move has to be designed.
Both characters move in this mode They have their own and of course all their components must be rotated to create the illusion of a hammer blow. More than 142 animations, 941 special frames in 97 layers, designed just for the main character of a 2D game. Next we have to say that not only objects cause problems, but also water and its movement is another problem. The creator of Unknowns Worlds says that creating a lake or interactive water is very important for the player, but what is important is how to keep the water away from places you do not want. Max says:
It has a certain volume and we show it in video games with simple shapes. An ocean, for example, may be an infinite plane on a rectangular cube. All parts of the box should be filled with water to simulate immersion. Using such simple objects to describe water makes it a reality in the limited scope of a video game. The problem arises when you add a ship, submarine or even an underwater cave to the game. The space occupied by them should not be filled with water and therefore you should reduce the volume of water. Different methods are usually used to simulate water interaction. To code the gameplay, several controls must be set to determine the player's position and how he breathes. Then you need to determine if the player is in the volume of the ocean. Is it inside the ship? Can the ship sink? The answer to the question "Is the player in the water?" It became a major challenge in Subnautica.
Telling a coherent story
Another gameplay element that is underestimated is storytelling. What methods the game's writers and designers have used to tell the story is another article in itself; But simply put, writing a game's story is not just about writing a few dialogues. Choices affect the overall story. He believes that the inclusion of choice in the story allows the designer to focus on all the consequences and design the outcome of the choice of options. This process is not very complicated; But this sometimes becomes a difficult challenge for a developer.
To clarify the issue, he gave an example of making the first issue of Copper Effect game, how the decisions made in the first part of the series, can be on the game Affect copper effect 3. If you have played Copper Effect, you know that you will encounter characters such as "Tally", "Citadel" and "Garros" and "Tally" will be added to the team later. If one of the characters is not added to the team, an option will be found later that, when activated, brings the whole team together; But a small number of players have refused to add a third person to the team and have made such a strange choice. People who have chosen this option will definitely encounter a bug that will ruin the whole game, fortunately the developers will find the bug before it happens seriously; But one of the bugs is lost.
If you remember, there was an option that left "Tally" out of the team, and just before the final stage, Tally appears at once, as if he had returned from death like a zombie! The probability of this happening is very low and the person has to communicate with Tally in Copper Effect 2 and then continue the relationship until the third number and finally witness his death. Interestingly, the developers have found this flaw in the story, but the final version has been released with the same weird bug.
Another problem has to do with Alder Scrolls Online. The game missions are designed in such a way that it is possible to change the game world. For example, if a villager catches fire, the player can come to the aid of the villager and save them. In this case, two villages need to be built by the developers, the version that was completely burned and destroyed and the version that was not affected by the fire. Bethesda tests the game and everything goes well; But the release of the game showed that the game design is more difficult than the developers thought.
As the players moved towards the village, problems such as moths and locusts were found, and interestingly, no developer had thought of them. For example, one member of the group may have completed this mission and the other may not have reached that level yet. They are not new to participating in the mission. The problem was that all the missions were designed in the same way, and as a result, the players' mindset that they could change the game world focused on the question, "Where are my friends?"
Developer team They were forced to modify all the steps designed with this technique and reorganize it. Interestingly, there are still a few of them left in the game, and most are related to places where the player is not yet able to form a group. It took Bethesda more than a year to solve such a seemingly simple problem, and this shows that building the game is by no means easy.
This is not the only" choice "of storyline that causes problems, Harebrained Schemes studio producer Jesse Love believes that turning text into a game with different parts such as the user interface, Accessibility and localization are difficult. He went on to say that establishing a connection between the story team and the game design is a fundamental problem, and that close cooperation should be done between the members of the two teams so that the story does not deviate from the main process or the game design damages the story. "When I was working on BattleTech, the font used for the Russian language had larger characters than Latin, and that was enough to break up the text boxes, and finally we saw that the text," he says. Russian could not be displayed in the user interface, and we found that the font used had more elongated characters than the English font for strange reasons. When I was working on game localization at Xbox, there was an option for the console that invited users to play with their friends, and it was: "Connect with your friends" This phrase was translated into Polish as: "Mobile "Support your friends, socialism," which we fortunately quickly found out.
Many people have had difficulty localizing games and translating stories into different languages, calling the translation of a game very complicated. Joe Mirablo, director of Terrible Posture Games, believes that German is the biggest challenge for a developer, and that there are words in the language that range from 10 to 20 letters. Interestingly, they had a German developer on their team, and even he refused to translate the game into German. Incorporating all the letters into one line is seemingly simple; But it is actually complicated and difficult. Of course, strategies for translating games and movies have been proposed by celebrities such as Antonioni, and it is not correct to translate the entire text word for word to the destination time. You will find that a simple task such as translating can disrupt the whole story and change the mood. The storytelling can be tied to the game design, and the developer has to persuade the player to do private work to improve the game. To do this, it is necessary to put clues in the environment and design a complex system for it. "It's very difficult to get the clues right," said Kevin Zon, author and director of Young Horses Studios. You can not tell the player to do this, but you have to bend their thoughts to a point. .
Impulse Kingdoms of Amalur : Kingdoms of Amalur (Loot) . . . .
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! . . Sifu 5 Absolver . : . .
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. Nine Dots : Outward . .
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30 . 1047 Game : . 10 100 50 .
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Tanya Short Kitfox Games . . . . .
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Star Wars: Squadrons :
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Beans . . : ! . .
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. . what is your opinion?
Source: IGN </ a>