Sunday, 30 March 2014

Task 20: Elements of game technology, part three: interaction design.

Games are inevitably complex entities demanding constantly changing inputs and responses from the player. Given that Call of Duty is more demanding than Word, how do the designers enable such complex interactions relatively ‘intuitively’? Are these interactions in fact intuitive at all?

Game engines can handle complex physics simulations, but have traditionally been hindered by the limitations of screen/keyboard/mouse interaction. What effect could the rise of the Wii and the new generation of motion controllers have on game design? What about the impact of 3D technology?’


In a traditional solo video game you're actually interacting with the designer.
In a newer video game, you're interacting with other people through situations devised by the designer.

Interacting with the designer:  (Often called PvE, Player vs. Environment)
    Puzzles 
    Talking with NPCs
    Collecting information
    Avoiding obstacles and hazards (which may behave sentiently (with intelligence) or not)
        Stealth
        Con them (bluffing)
        Blast/smash them
        Clever other methods (drive cattle in front of you)
        Dodge/avoid
    (Cutscenes–but no interactivity)

Interacting with other people:
    Negotiation (persuade or dissuade)
    Direct Conflict (PvP, Player vs. Player)
        "Beating them to the punch" (in races, collection of objects, as well as in attacking)
        Kill-crush-destroy opposing entities
        Physical contests
    Cooperation (typical of group RPGs)
    Trading
    Bidding against/auctioning
    Drafting (selecting the best set of useful items, getting something before someone else does)
    Anticipation of what someone else will do (could be tied to “beating them to the punch”)  
    "Bragging rights"
    Telling bad jokes, charades, drawing pictures, and many other kinds of party game activities
    Acting/pretending (lying) (bluffing)
    Being annoying  
    Indirect interaction (you cause forces other than yours to do something to harm another player's)

As shown there are numerous way in which a player can interact indirectly with the designer and ultimately the game enabling these interactions so that the player can experience all of the above in an intuitive manor takes a great deal of time and effort to produce. Designers can choose to go don't he already well established routes like the Xbox and PlayStation controllers we know today or the humble keyboard and mouse, but with more and more small time developers taking the next step in these some what usually overlooked fields, more and more developers are beginning to take note and to want to be part of this new movement. Companies like Oculus and Sixsense creating prototypes and now fully fledged consumer products that have inspired many to re think the way we can interact with games.

Oculus are a company devoted to the pursuit of creating the worlds best VR –virtual reality- device that can place you quite literally so far as your vision and hearing is concerned, into the game world, no longer will you be limited by the size of your computer screen, the Oculus Rift lets players intuitively move in three dimensional space. being able to lean and look in every which direction opens up dramatic new possibilities for the games industry and developers.


Sixsense is also working to push the boundaries of player, game interaction, creating products like the Razer Hydra –which also identify the point that bigger companies do want to help make this a reality with names like Razer taking ideas like this on board- which can also be used in conjunction with the oculus to give an almost full immersive and intuitive experience where the player is free to look and move in 3D space.

Now with both products there still is the limitation as to actual player movement, by which I mean walking or running. But once again another company has that covered.
The Virtuix Omni is the first –when combined with the oculus rift- virtual reality interface for moving freely and naturally in your favorite game.
The device allows for complete immersion while still creating an intuitive environment for the player.

Applications of natural movement in virtual reality stretch far beyond gaming: training and simulation, fitness, virtual tourism, virtual tradeshows and events, meet-ups and multi-person adventures, virtual workplaces, museums, VR architecture, VR concerts… The possibilities for all of the mentioned above are limitless.

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Saturday, 29 March 2014

Task 19: Elements of Game Technology, part two: sound for games

 ‘How is sound used in games? Who are some of the key composers working in games? What are your key sonic moments in your gaming history? And is it true that the Nile Rodgers/Bernard Edwards composition 'Good Times' is the most influential recording made in the 20th Century?.’


Sound is used in games much the same way as in other forms of visual media, to provoke an emotional response from the viewer. Sound in games is now a well established part of developing process and can be used to really set the game apart and create a globally recognisable appearance.
Franchises such as Halo, Mario and Sonic all have unique sounds/scores that people from all walks of life can associate to the games.

Different types of sounds are used in games relative to limitations such as production costs and they’re overall purposes. Adaptive sounds and music are used to indicate to the player that something is happening or about to happen, changes in tempo in stealth games can indicate that the player has been spotted, where as in a first person shooter the changes may signal that there is an approaching fight.

Some games use current musical influences to engage players where the game is not heavily story driven.

Wipeout 2097 is one of the first examples of in-game music that was composed by well-known artists. As a racing game, Wipeout has no story to tell, but the developers were still keen to build an immersive setting: the fictional branding created by The Designers Republic perfectly evoked a uniquely 90s vision of the future, and the tracks laid on by The Chemical Brothers, The Prodigy and Orbital lifted this clubland aesthetic to new heights.

The composers behind some of the most iconic scores include: Jesper Kyd, with his notable scores including: Freedom Fighters, Hitman series and Assassin's Creed II. 

Koji Kondo has created some of the most well known scores for games, with his resume made up of:The Legend of Zelda: Ocarina of Time, Super Mario Bros., Super Mario 64, Super Mario Galaxy 2, Star Fox 64. 

Jeremy Soule is also up there will such titles as: Skyrim, Guild Wars 2, Knights of the Old Republic and Word of Warcraft: Mists of Pandaria.



Personally, drawing on my experiences with sounds and scores of games the few that have really made an impact, and the ones that I can recognise after a few bars are ones such as the Halo theme created by Martin O'Donnel , the Civilization 4 theme created by Christopher Tin, and being a 90’s child the Super Mario theme –created by the already mentioned Koji Kondo- has to make an appearance in there.


Finally I would say that Good Times is one of the most influential songs of  it’s period, with it claiming new heights of popularity and being sampled countless times, however  I don’t think it can be considered the most influential song made in the 20th century, musical popularity changes almost daily and to claim a song which supposedly denounces all others over such a long period of time is just not factual.

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