Project 2 Design/Play/Disrupt (Task 5)

Final conclusions of my project (Escape Higgs)

This project has been for me a run without stopping, In an organizational chaos that to my surprise we have managed to finish with results that sincerely exceed expectations.

I have to say… in my group there were defined roles but they have not been taken into account at any time by practically no one. This has clearly proved that there is greater involvement of some than others. But this… so that we are going to deceive ourselves… can always happen when working in teams. And I have to keep that in mind always.

Days of research in forums, blogs, internet tutorials and books. Dedication and a lot of error testing were giving little by little form to the game.

What research methods did you use and how did you measure the reaction of your target audience?

At the time of developing the game concept I have never had my audience, for several simple reasons. The first is that I do not like to design for TARGETS AUDIENCE, I design what I like, what motivates me, what inspires me and I do not seek an audience, I seek to convey an experience without objective. And the second is… that I don’t know how to look for a useful audience for my objective.

The truth is that from the beginning I thought of a game accessible to most people. That’s why I thought of a DRAG AND DROP. Oriented to SmartPhones.

What research tools were most effective in developing ideas for the game concept?

The VideoTutorial platforms have been my inspirers and instructors. I have to say that the Tutorials offered by Unity leave a lot to be desired and don’t have much rhythm. Their creators should put it on themselves to see without being able to complete any without despairing or falling asleep…

Every time I needed to create something on Unity I would search the internet and get the information I needed to adapt it to my idea. Then I searched the official Unity Documentation to add more personal details and let’s fly!

On the other hand, In my concept Art-Design I think I have invested too much time in small animations for the game. I really don’t think they’re much use for a prototype either. But I also wanted to learn how to apply them in Unity and how to work with them. So it was also a necessary task that I’m happy with.

My designs are easy and without complications I have not wanted to spend much time in aesthetics, because I do not know what to give yet.

what you have learned during this project?

in this project I learned a lot about C#, A create Patrol Routes for NPC, A make attack Npc. A that Npc launch projectiles towards different positions. Let the Npc follow another Object. To create interaction between objects, Disable Complements in Unity. How to export and work with Sprites.
How to generate a dynamic TileMap… How to use conditionals to change the priority from one action to another. I’ve also learned that the X,Y position of the mouse on the screen is not the same as the X,Y position of an object in the game and that to relate them you have to use a different code.

Thoughts about the task

Our project seemed simple but when I began to develop the mechanics, the movements of the AI, I realized that my knowledge was far from the necessary to create them.

Thanks to another matte who got to run the DRAG AND DROP in the UI made us take a huge jump in the progress of the basic mechanics of the game!

But it didn’t take long to realize that running DRAG AND DROP with the rest of the Sprites in the game was more complicated than expected… Once again…

At one point I felt quite frustrated because in theory I in the group was the only ARTIST (kind off) and I had not devoted enough time to this part for my taste but on the other hand (my part of DEVELOPER), I felt I had to prioritize in the mechanics of the game rather than in the artistic. After I remembered the concept of the uncaved valley. So I saved the art for last if I had time left.

I remembered the concept of the uncaved Valley

On the other hand! The documentation, The papers.. Writing everything… I didn’t do it because I felt I didn’t have time and I had to prioritize! Now I regret it, because I find it very difficult to compile everything.

I feel like I’ve done most of the work in the team, but I’m happy because I’ve learned a lot more. Although on the other hand I would have liked to go further…

I believe that as a conclusion for future projects… Improve team communication. Distribute tasks and roles more effectively (organization) and improve my documentation techniques in the development process.

And the most important thing! Everything is harder than it seems!

ESCAPE HIGGS – THE VIDEO GAME

What’s the plot?

Higgs Logo

A scientist Called Hipo has emulated the creation of the Univierse and the birth of the Human in a virtual machine.

But now Hipo encounters a serious problem! Virtual scientists try to discover the Boson of Higgs.

But if they do, they could make the real and virtual universe collapse into a temporary PARADOX!!

Hipo has too much sympathy for his virtual world to erase it, so he only has one way to remedy it. Interfering without humans realizing they are really a Virtual Machine!

To do this the Hipo will use the elements of nature to go undetected and save Higgs Bosson from being discovered!

Target specs:

Genre: Puzzle-Strategy
Target Rating: PEGI 3
Target Systems: Pc/Android/IOs
Average Game Lenght: 365

Promotion Video

Game Play

Short Mecanics

Its a click, drag and drop game. In which the player must decide between the 4 elements or the combination of them to complete each different level.

In each level you will find different challenges and Enemies in which you will be able to test your God Skills.

It is an evolutionary game in which the Higgs will change his attributes throughout his advancement.

It all depends on how you use your skills. Do you want to be good? or…?

Characters

Project 2 Design/Play/Disrupt (Task 4)

Reflections on Escape Higgs

The new task that has hit us now is to create a prototype of the game we show. My team has chosen mine. And I’m very happy and motivated by it! In this part of the task, technically we would have to be working each on the basis of the roles they handed out at the beginning. But I see that we are all doing a little bit of everything. We can’t focus on just one task no matter how much we want to. We are in this to learn as much as possible. And that proves that everyone wants to do things so as not to lose learning… It’s logical.

The Roles that I am in this task are of artist, designer and developer. I do practically everything in this group within the project. But I have realized that I am a good mediator between the rest of my colleagues. I try to make everyone understand each other and share what I know with the rest of the group. Thanks to sharing my skills makes the project move forward in a more fluid way between everyone!

Out of rolls, it’s been a somewhat stressful race … because I feel that there is not much organization and we have concentration problems. But it seems that when we get into it things go better than we expected… so

Estress? Yes… But on the right way!

It took almost a week to make the map, in theory I had to do the characters and so on. But of course, if I didn’t focus on the mechanics, nothing would come out. So I put aside the artistic part and focused more on research on C# and Scripts.

I feel like I’ve done most of the work. Sprites… Logos…. Code… in the end I also had to do the paper work. I feel that they haven’t been involved at all in the project. Only one of the Designers, who moved to Developer has created a basic part of the GamePlay of the game. If it wasn’t for that.. I would have eaten the project by myself… But I’ve learned a lot in the process and that satisfies and motivates me.

If I ever work in a team again I hope that people will be more committed to their responsibilities. And don’t have to fall all over one person.

// Links Reference

Solution to the problem of Placing the mouse X,Y with objects inside the game

https://answers.unity.com/questions/491865/how-to-check-if-mouse-position-is-near-gameobject.html

Project 2 Design/Play/Disrupt (Task 2)

HOW MIGHT WE DESIGN GAMES WHICH
REWARD PLAYERS FOR AVOIDING VIOLENCE?

Violence is an unavoidable part of our culture, and an even more unavoidable part of videogames. So, I am not, and cannot, say that violence can’t or shouldn’t be there. I am saying however, that we should be looking at why violence is there . . . and how it affects us, as individuals who are presumably not planning to murder a large house full of people.

Liz Ryerson “The Monster Within”, Midnight Resistance, 11 May 2012


I decided on violence in video games because it was the topic that I wanted to take.

Thinking about it I’ve realized that most of the video games I’ve played in my life are violent in one way or another. Some more… others less… Somehow…

Let’s say that Learning games, games that promote Love, empathy, care, exercise, that teach healthy lifestyles don’t sell much… Because this society is too conditioned by the big media.

These are the ones who MORE encourage violence. And the problem is that they normalize it in so many areas it is normal that when you play violent games people want them! Because you give them the possibility to act as their leaders in the movies! With total freedom and without consequences in the real world…

Effects of Reward Violence

Here I show a scheme in which it shows the problems of Rewarding violence, but not only in video games! If not in all life situations!

Real or Digital Affects Us Equal

Many studies claim not to have actually found a direct relationship between violence in video games and violence in reality. They say that the problem with video games is that they make people more selfish and with more social problems and more problems to relate.
What proves frustration when it comes to not being able to do things more normal and everyday like the rest of the people around you.
And it is this frustration in some cases that proves that individuals react with violence.

But here’s the problem… Both violent and nonviolent games cause the same symptoms…


Variable Proportion Rewards

Seeking to compensate for the use of nonviolence in video games I found techniques that make you think a lot. But the problem is that most companies use them! One of these techniques is variable proportion rewards.

To make the player see that he has different possibilities to get something or better still to give him a reward when he does not wait for it. That makes them want more! And since the rewards can vary and only depend on the number of times you repeat an action to achieve the desired causes the player to play longer than expected and with more desire.

Slot machines are basically Skinner boxes for humans.

Skinner boxes is a laboratory apparatus used to study animal behavior.

Slot machines and online games are sometimes cited as examples of human devices that use sophisticated operant schedules of reinforcement to reward repetitive actions.

Social networking services such as Google, Facebook and Twitter have been identified as using the techniques. Critics use terms such as Skinnerian marketing for the way the companies use the ideas to keep users engaged and using the service.

Gamification, the technique of using game design elements in non-game contexts, has also been described as using operant conditioning and other behaviorist techniques to encourage desired user behaviors.

Skinner Box


Trick players into having fun

Someone


References

Davidow, B. (2019). Skinner Marketing: We’re the Rats, and Facebook Likes Are the Reward.

The Atlantic. Available at: https://www.theatlantic.com/technology/archive/2013/06/skinner-marketing-were-the-rats-and-facebook-likes-are-the-reward/276613/ [Accessed 12 Dec. 2019].

En.wikipedia.org. (2019). Jack Thompson (activist). [online] Available at: https://en.wikipedia.org/wiki/Jack_Thompson_%28activist%29 [Accessed 12 Dec. 2019].

Lib.dr.iastate.edu. (2019). [online] Available at: https://lib.dr.iastate.edu/cgi/viewcontent.cgi?article=1326&context=rtd [Accessed 12 Dec. 2019].

Metro.co.uk. (2019). Weekend Hot Topic, part 2: Best non-violent video games | Metro News.

Available at:

Weekend Hot Topic, part 2: Best non-violent video games
[Accessed 12 Dec. 2019].

Scholarcommons.usf.edu. (2019). [online] Available at: https://scholarcommons.usf.edu/cgi/viewcontent.cgi?article=1062&context=honors_et [Accessed 12 Dec. 2019].

The Courier. (2019). Design/Play/Disrupt: ‘Complexity of videogames’ explored at new V&A Dundee exhibition – The Courier.

Available at:

Design/Play/Disrupt: ‘Complexity of videogames’ explored at new V&A Dundee exhibition
[Accessed 12 Dec. 2019].

Vam.ac.uk. (2019). Videogames: Design/Play/Disrupt. [online] Available at: https://www.vam.ac.uk/shop/videogames-design-play-disrupt-154922.html [Accessed 12 Dec. 2019].

Project 2 Design/Play/Disrupt (Task 1)

Task 1: Critical Perspectives and Contextual Research

This project has been for me more complicated than I expected, a lot of information to look for, many websites, books, opinions…..

There is so much that many times you don’t know where to spend more time researching or reading than in another. Sometimes in official pages or books you find a lot of information. other times you find more information in a comment! of a post of some unknown that in entire pages of books and webs…

It’s difficult to move between link and link… you jump from one side to the other thinking… and who will be this person who says this… who is dedicated… ohh look has its own website we will look… and when you want to realize has spent an entire afternoon and you have not pointed anything … It’s frustrating because you always think that the answer may be somewhere else and not where you are.

But in the end you realize that… Of course you find useful information! but it is important to take notes of everything! at all times!

Real Time Art Manifiesto

THIN HAIKU NOT EPIC

This was the phrase I chose from the manifesto. When I read it, it reminded me of a friend who always spoke to me about these types of poems. And the point is, like allways in life… make things simple… or at least try to not complicate yourself too much if you dont know some task. I have created a BrindMap for that, to make more visual the concept or at least how I understand that.

+ info about Haiku Poems(Wikipedia)

Extra Reresearch Terms

The Triangle of Weirdness

It’s a term he mentions scott in his book Level Up. According to him, there are certain barriers that you can’t overcome when it comes to innovation. Within those 3 variables you can only use your creativity to create something different in one of the 3. You have to Choose. Word, Activites, Character.

Don’t do more than one of these things because you can alienate the public. A game about unicellular perriform monsters playing an asymmetrical strange linguistic sport of ambivalent rules in a volatile world of dreams and planets made up of delusions and cream… no!


The Elemental Tetrad -of Games

Aesthetics: This is usually put at the top of the chart because the aesthetics of the game are the most visible aspect. Aesthetics aren’t just the appearance of a game, but everything that appeals to the senses. How does it sound? If it’s a board game what does it feel like, or smell like? Make sure that when creating your aesthetics that they reinforce the other parts of the tetrad.

Story: This is the sequence of events that take place in your game. Who are the characters of your game and how do they interact with eachother? What is the plot to your game and does it contribute to the experience you are aiming to create? Does it reinforce your aesthetics?

Mechanics: This is the core of what makes a game. These are the rules of the game. Some examples of what constitutes mechanics are; Mario can jump, pressing B shoots, players cannot play more than one card a turn, if the soccer ball gets into the other team’s goal your team scores. Mechanics are what make a game interactive so think, “message through mechanic.” Make sure your mechanic isn’t offset by your story or art.

Technology: This is what makes the game work. What is the hardware, or what is your board game made out of? The technology of a game is the least visible part of the Tetrad and is at the bottom. This might not seem important to the aesthetics but the technology limits what is possible. Mario only looks the way that he does because of technological limitations. His mustache is used to define his face and nose. He wears a hat because there wasn’t enough room to animate his hair when he fell. And last he wears overalls so that it is clear that his arms move while running.


The fourth wall

“l” is an expression stemming from the world of theater. In most modern theater design, a room will consist of three physical walls, as well as a an imaginary fourth that serves to separate the world of the characters from that of the audience.

In fiction, “breaking the fourth wall” often means having a character become aware of their fictional nature. This can range from a character advising the player to “Press X” or “Press A” in a tutorial, (referring to a controller button that does not exist in the game) all the way to Psycho Mantis reading the player’s memory card and mentioning the other games they’ve been playing.

However, the most conventional violation of the fourth wall is when a character (or the game itself) openly acknowledges they are in a video game, or directly refers to the player.

Uncanny valley

Uncaved valley talks about the thresholds of perfection and the imperfect, the real and the abstract. Many times we invest a lot of energy in creating something perfect that our abilities do not even allow us and the result is the fatal…

Many times it is better to make a sketch relatively close to reality than to try to imitate it.

Our sense of aesthetics and visual perception becomes more tolerable, unconsciously, with imperfect things.
However, with perfect things, the smallest erroneous detail makes us see trash.

From left to right. Last point, Second Point.
3º Point.

References

https://www.cleverism.com/qualitative-and-quantitative-data-collection-methods/
http://eduardolm.com/originalidad-en-los-juegos
https://www.cia.edu/blog/2015/04/the-elemental-tetrad-of-games?sa=X&ved=2ahUKEwizh4mNiqzlAhUzpnEKHbnQBvsQ9QF6BAgKEAI
https://www.giantbomb.com/breaking-the-fourth-wall/3015-138/

DAWSON, D. (2019). INTRODUCTION TO RESEARCH METHODS 5TH EDITION. [Place of publication not identified]: LITTLE, BROWN.

Dolowitz, D., Buckler, S. and Sweeney, F. (2008). Researching online. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Guides.lib.vt.edu. (2019). Research Guides: Research Methods Guide: Research Design & Method. [online] Available at: https://guides.lib.vt.edu/researchmethods/design-method [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Ways of Seeing Playlist

This week’s exercise consisted of watching all the advertising that bombs our subconscious every day. It’s something that I try not to give too much antencion because I find it annoying and invasive. They are full of messages to try to make you feel better in exchange for something, or to induce a thought or feeling in order to get your money. I think it should be banned in public areas and that it is an attack on our freedom of thought. Advertising should only reach you if you ask for it not by the obligation of another… Maybe in the near future I will develop a 3D project related to the subject.

Recount

The first part of the exercise consisted of counting the amount of advertising or any other type of message, back home… Obviously that number exceeds the number of… 999999999999999999999?

Then I have to answer if any of those make me envious.
I have to say no, envy does not produce me. They produce anger in some case, or just indifference and sometimes there is some poster of some event that can call my attention.

Choose

  • Start your next journing with us foster witg bristol (post)
  • Doctor Sleep (Bus)
  • Bristol festival of ideas (Door)

These are the 3 examples I’ve taken, I honestly don’t consider myself the target of any of them. It could be that the last one, because it has caught my attention. I could even be the target of the first one even if I don’t know it… They are offering me a new and better job, the apparent possibility of improving my life.

Luckily I don’t watch TV, so I get rid of the advertising bombardments over there. And with regard to web messages I usually have them blocked too. I still have hope in privacy. Although seeing how things are we are entering a world where companies know us better than our friends and the power it gives them over people I do not like anything …


The Bubble Project

The Bubble Project, as proclaimed by its manifesto, aims to counteract corporate marketing and advertisement messages in public spaces.

The project was conceived by Ji Lee, an artist and art director who originally printed 15,000 stickers that look like speech bubbles used in comic strips. He posts these blank speech bubbles on top of advertisements throughout New York City allowing anyone who sees them to write in their comments and thoughts. By filling in the bubbles people engage in the project and transform “the corporate monologue into an open dialogue”. After time passes, the comments are photographed and posted on the project’s website.

The Bubble Project has quickly gained popularity and independent efforts have sprung up in other parts of the world in countries such as Italy or Argentina.

On June 1, 2006, a book written by Lee himself was released. It explains the whole idea behind the project and shows the best pictures taken in the first 4 years, showing the results of the project.

References

https://en.wikipedia.org/wiki/The_Bubble_Project

Task 1: Critical Comparison of Research Tools, Methods and Sources

Before starting a Research we need to be clear about what we are looking for.

The important thing is that when a possible research topic is raised, the researcher asks three questions:

  • What do I want to investigate? (Definition of the problem),
  • What do I want to investigate him for? (Objectives)
  • How am I gonna find out? (Methodology).

The purpose of the methodology is to understand the research process and not the results.

Other skills that the designer may have is to develop their own methodologies. You should be able to choose the most suitable method for the research, such as the something you will give you and the techniques and tools you will use to obtain data.

Collection Tecniques MindMap

Primary Resources Vs Secondary Resources

Primary research involves the study of a subject through firsthand observation and investigation’.


For the primary research for example you could have a file or folder notes from each contact can be separated by a contact sheet or document which gives the name of the person, the date and time you met and a contact number or address.

Secondary research involves the collection of information from studies that other researchers have made of a subject’
In the secondary research file or folder each page of notes or document can be headed by details of the publication in the same format that will be used in the bibliography – author and initials; date of publication; title of publication place of publication and publisher. If it is a journal article, remember to include the name of the journal the page numbers of the article and the volume and number of the journal. It is also useful to include the location of this publication so that it can be found easily if needed again (website or library shelf location).

References

https://www.cleverism.com/qualitative-and-quantitative-data-collection-methods/
http://eduardolm.com/originalidad-en-los-juegos
https://www.cia.edu/blog/2015/04/the-elemental-tetrad-of-games?sa=X&ved=2ahUKEwizh4mNiqzlAhUzpnEKHbnQBvsQ9QF6BAgKEAI
https://www.giantbomb.com/breaking-the-fourth-wall/3015-138/

DAWSON, D. (2019). INTRODUCTION TO RESEARCH METHODS 5TH EDITION. [Place of publication not identified]: LITTLE, BROWN.

Dolowitz, D., Buckler, S. and Sweeney, F. (2008). Researching online. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Guides.lib.vt.edu. (2019). Research Guides: Research Methods Guide: Research Design & Method. [online] Available at: https://guides.lib.vt.edu/researchmethods/design-method [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

Professional Practice Tasks

Today I’m going to reflect on what career opportunities I’d like to focus on. After browsing for a while on the website www.screenskills.com I have seen a lot of possibilities. I have to say that for a moment, so many possibilities have made me anxious a little. But I have managed to reduce the profiles to 6! I have ordered them according to interest! But being realistic the first one I see it far away. But somehow I would like to do something related to AI programmer or 3D modelling.. or… ts… i dont know. ARGGGG!

  1. AI programmer
  2. Graphics programmer
  3. 3D modelling artist
  4. Game Play Designer
  5. Games animator
  6. Gameplay programmer

AREAS WHERE IM INTERESTED

AI Programmer

AI programmers create the brains of the game. The non-playable characters (NPCs – the ones that are not controlled by a player) need to make decisions and behave in ways that are believable, exciting and present the player with varying degrees of challenge. The role of the AI programmer is to write the code that outlines the way these characters operate.

Necessary Skills:

  • Programming: Have a very high-level of programing ability, adapt new scripting languages, understand the requirements and constraints of game consoles, Pcs, handhelds and mobiles
  • Maths: Have outstandings maths abilities, strong analytical and problem-solving skills
  • Psychology: Understand how characters are likely to behave
  • Knowledge of gameplay: understand how the behaviours (hábitos) of the characters will enhance the player’s experience and strengthen (reforzarse) the authenticity of the game.
  • Innovation: be able to develop cutting-edge (vanguardista, puntero) systems and use them in a creative way.
  • Communication: be able to share expertise in writing and verbally with other member os the team.

    What to Study:
  • Physics
  • Maths
  • Computer Science
  • Psychology

GamePlay Designer

Gameplay designers are responsible for the central part of the game experience – how it plays.  They design the mechanics of the game – how high a character can jump, how long it takes to accelerate to maximum speed or when you can gain points. They plan and define the game’s structure, its rules, characters, objects, props and vehicles and think about different modes of play, like story mode or multi-player.

Necesary Skills:

  • Knowledge of gameplay: imagine the best gameplay or game mechanics for the experience
  • Diplomacy: Know when to compromise in the face of manu different opinions about how a game should develop
  • Knowledge of game engines: nderstand games engines an their abilities and limitations, have some programming skills and knowledge of UX an UI
  • Collaboration: Work Closely with the lead designer, gameplay programmer, AI programmer: art department and other programmers
  • Communication: explain how the game will be played in a way that everyone understands
  • Project management: plan the producion of the elements of the game

    What to study:
  • Art
  • Art and design
  • Graphic design
  • Graphic communication
  • Computer science
  • Mathematics
  • Physics
  • BTEC Diploma in Computing

3D modelling artist

3D modelling artists create the models for all 3D art assets within the game – characters, weapons, vehicles, furniture, trees, rocks and so on. They often start with a brief or 2D drawing from a concept artist and build their 3D models from that.

Necesary skills:

  • Using 3D software: create artwork using a range of programmes, know the latest technologies and techniques
  • Using game engines: implement art into game engines, understand their technical constraints and possibilities
  • Art: have strong artistic ability, good understanding of form, colour, texture, and light, know how these elements work together
  • Knowledge of gameplay: imagine how a character or vehicle will be experienced when a game is being played
  • Collaboration: work well with the other artists, designers and producers
  • Organisation: work within the production schedule, manage files and meet deadlines

    What to Study:
  • Art and design
  • Graphic design
  • Graphic communication

Graphics programmer

Graphics programmers are dedicated to ensuring the game looks as good as it possibly can. They want fire to look like fire, water to look like water and skin to look like skin. This means making the graphics as detailed as possible without impacting on the speed and playability of the game.  The job is all about maths, rendering and optimisation.
Necesary Skills:

  • Graphics: implement techniques and processes that meet the artistic, design and technical requirements of the game
  • Maths: understand the logic and maths that underpins most graphics processes
  • Programming: write strong code that’s easily understood by fellow coders
  • Innovation: imagine and develop ways of improving the graphics
  • Knowledge of games engines and platforms: understand the different constraints of games consoles, PCs, handhelds and mobiles
  • Communication: work with other programmers and artists

    What to Study:
  • Maths
  • Physics
  • Computer science
  • Graphic design
  • Graphic communication
  • Art and design
  • BTEC Extended Diploma in Creative Digital Media Production
  • BTEC Diploma in Computing

Games animator

Animators take the objects created by 2D and 3D artists and breathe life into them by making them move. Working from the designer’s storyboard, they create the movements for characters and vehicles. They add personality, emotion and realism to the game.
Necesary skills:

  • Art: draw and reveal attitude, emotions and mood through a character’s movement, have spatial awareness and a feel for movement over time
  • Knowledge of gameplay: understand how movements will appear when played within the context of the game
  • Knowledge of games engines: understand how to create an animation that works within an engine’s technical constraints
  • Communication: be able to respond to direction and share ideas with other team members
  • Organisation: work within the production schedule, manage files and meet deadlines

    What to Study:
  • Art and design
  • Graphic design
  • Graphic communication
  • Computer science
  • Maths
  • Biology
  • BTEC Diploma in Computing

Gameplay programmer

Gameplay programmers write the code for the interactions that make a game fun to play. While lead designers decide on the combat, gameplay programmers make it happen.

They work with level designers to see what needs to be done to make the gameplay work. They write the rules that govern what objects do and pay attention to balancing and tuning of the way the game plays. They also fix bugs and optimise the game for playing.
Necesary Skills:

  • Programming: be highly proficient in programming, finesse levels and seamlessly integrate scripts
  • Knowledge of gameplay: imagine the best gameplay or game mechanics for the experience
  • Knowledge of game engines: understand games engines and their abilities and limitations
  • Collaboration: work closely with the lead designer, gameplay programmer, AI programmer, art department and other programmers
  • Communication: work with the team, establish and document best practices for scripting and delivery of assets

    What to Study:
  • Maths
  • Physics
  • Computer science


Research Oportunites


Jake Basteninfo@jakebasten.co.uk

jakebasten.co.uk/

Bristol

UKOne-Stop shop for Interactive Audio – Sound Design, Music Composition, Audio Implementation in Games, Audio Coding (Building Interactive Audio Systems & real-time audio DSP effects), C# Programmer, Sound Recording, Audio Editing, Unity, FMOD, Wwise etc.


Thomas Williams
thomaswilliams.sound@gmail.com

thomaswilliams-sound.com

Bristol,
UKMusic and Sound Design, Interactive Installation Work

Aardman (Digital dept)

George Rowegeorge.rowe@aardman.com
0117 307 1369

http://www.aardman.com/work/#filter=.interactive@aardman
Gas Ferry Road, Bristol,

UKGame development (HTML5, Unity, Flash), game consultancy

Catastrophic Overload Ltd

James Letherby – james@catastrophicoverload.com
Josh Burr – josh@catastrophicoverload.com

https://catastrophicoverload.com

Bristol, UK

Indie game dev duo (code/graphics) focussed on creating werid and wonderful games

Codebyfire LtdRich Wallis – rich@codebyfire.com

http://codebyfire.com@geekbeach

Bristol Games HubSmall studio building strategy games for PC.

Force Of HabitAshley

Gwinnellcontact@forceofhab.it

http://forceofhab.it/

Bristol, UK

Rapid prototyping, sound design and “game feel”. (C++ / Web)

FACEBOOK GROUP

https://www.facebook.com/groups/719197258116493/