Monday, December 15, 2014
Tuesday, December 9, 2014
Quotes
Where does a thought go when it's forgotten? - freud
Who looks outside, dreams; who looks inside, awakes.
Read more at http://www.brainyquote.com/quotes/topics/topic_dreams.html#yPT9ZHAx5wtM0qEi.99
Dreams are today's answers to tomorrow's questions.
Read more at http://www.brainyquote.com/quotes/topics/topic_dreams.html#yPT9ZHAx5wtM0qEi.99
The best way to make your dreams come true is to wake up.
Read more at http://www.brainyquote.com/quotes/topics/topic_dreams.html#yPT9ZHAx5wtM0qEi.99
“Dreams come from the past, not from the future. Dreams shouldn't control you--you should control them. ”
The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.
Read more at http://www.brainyquote.com/quotes/topics/topic_dreams2.html#2rOcF4SihItyQEDB.99
http://www.brainyquote.com/quotes/topics/topic_dreams2.html
Dreaming or awake, we perceive only events that have meaning to us.
Read more at http://www.brainyquote.com/quotes/topics/topic_dreams2.html#2rOcF4SihItyQEDB.99
Ideologies separate us. Dreams and anguish bring us together.
Read more at http://www.brainyquote.com/quotes/quotes/e/eugeneione101308.html#eicpQdTP9JV8DayJ.99
“Vision without execution is just hallucination.”
Hope is a waking dream.”
“In dreams you don't need to make any distinctions between things. Not at all. Boundaries don't exist. So in dreams there are hardly ever collisions. Even if there are, they don't hurt. Reality is different. Reality bites. Reality, reality.”
“Five minutes are enough to dream a whole life, that is how relative time is.”
“To dream is to starve doubt, feed hope.”
“The way to screw up somebody's life is to give them what they want.”
“He who robs us of our dreams robs us of our life.”
One of the characteristics of the dream is that nothing surprises us in it. With no regret, we agree to live in it with strangers, completely cut off from our habits and friends.”
“Sorrow compressed my heart, and I felt I would die, and then . . . Well, then I woke up.” - Dostoyevski
“All life is only a set of pictures in the brain, among which there is no difference betwixt those born of real things and those born of inward dreamings, and no cause to value the one above the other.”
“Fer in our dreams we find ourselves. Who we were. Who we are. Who we can become. Sleep. Dream.”
― Moira Young,
“Only happy people have nightmares, from overeating. For those who live a nightmare reality, sleep is a black hole, lost in time, like death.”
― Guy Sajer,
Monday, December 8, 2014
Monday, December 1, 2014
Sunday, November 16, 2014
Color Palette
In the colour palette, each row corresponds to the complementary colours. So, you can use the colours in horizontal axis, not in vertical axis. There are basically 3 alternative palettes. As we have decided, the last one will be used for train scene and we can use that for other scenes as well.
I am still not very sure about our art direction style, especially after trying the games from 7DFPS. You know, basically you can create functional games with minimalist colours. We decided to use Beksinski's surreal and realistic style but it might not be very helpful since it requires too much time and effort to achieve that quality along with many textures. And this where the difference between painting and games come in actually. Paintings are static, meant to be looked for hours. However, this is not the case for the games as it can also be seen from our post about 'The Way Player Perceives the World'.
Maybe sticking with minimalist, functional and flat colours can help us to progress more fastly and efficiently. Flat colours constitute also contemporary art-style, as you can see from our 'The Elements of Design' post. And this is an example from an awarded game called Mirror Moon EP, released in 2012:
Some other photo references:
Something relevant for train scene in terms of colour:
Clarity trumps consistency - Steve Krug
10 Tips about Level Design
- Is fun to navigate – It uses a clear visual language to guide the player along the primary path, and creates interest through verticality, secondary paths, hidden areas and maze elements.
- Does not rely on words to tell a story – Aside from the explicit narrative called out by story and objectives, good level design delivers implicit narrative trough the environment, and provides players with gameplay choice from which to create their own emergent narrative.
- Tells the player what to do, but not how to do it – It makes sure mission objectives are clearly communicated, but lets players complete them any way they like, and, where feasible, in any order.
- Constantly teaches the player something new – It keeps the player engaged by continuously introducing new mechanics all the way through the game, and prevents old mechanics from becoming stale by applying modifiers or reusing them in unusual ways.
- Is surprising – Classic Aristotelian pacing is not always appropriate for an interactive medium, and it is not enough to simply pace all your levels to the standard “rollercoaster” model. Good level design is not afraid to take risks with the pace, aesthetics, locale and other elements to create an experience that is fresh.
- Empowers the player – Videogames are escapism and, as such, should eschew the mundane. Furthermore, good level design reinforces players’ empowerment by allowing them to experience the consequences of their actions, in both the immediate, moment-to-moment gameplay, and in the long term, through the holistic design of all levels.
- Allows the player to control the difficulty – It gears the main path toward players of basic ability, presenting advanced players with optional challenge through clearly communicated opportunities of risk and reward.
- Is efficient – Resources are finite. Good level design creates efficiencies through modularity, bi-directional gameplay and integrated, exploratory bonus objectives that make use of the whole play-space.
- Creates emotion – it begins at the end, with the desired emotional response, and works backwards, selecting the appropriate mechanics, spatial metrics and narrative devices to elicit that response.
- Is driven by the game’s mechanics – above all, it showcases the game’s mechanics through the medium of the level, to reinforce the uniquely interactive nature of video games.
Implicit storytelling via environment:
Examples: Dear Esther and Bioshock
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