DOCSLIB.ORG

DOWNLOAD Playe...Enre.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DOWNLOAD Playe...Enre.Pdf Player Reaction Towards Atmospheric Design And Humanoid Enemy Designs Within Video Games Of The Horror Genre Author - Eleanor Rossington Supervised by Dr Umran Ali The University of Salford This Dissertation is presented to the School of Arts & Media, University of Salford, in fulfilment of the requirements for the degree of BSc Hons. June 2020 1 Contents Contents 2 Keywords 4 Abstract 4 1.0 Introduction 5 2.0 Background And Context 5 2.1 Historical Context 5 2.2 Personal Context 5 2.3 Industrial Context 6 2.4 Importance Of My Research 6 3.0 Literature Review 6 3.1 The Importance Of Character Design 6 3.2 Anatomy 8 3.3 Colour Theory 8 4.0 Case Studies 11 4.1 The Last Of Us 12 4.1.0 Introduction 12 4.1.1 Background 12 4.1.2 My Review 12 4.1.3 User Review 14 4.1.4 Industry Review 14 4.1.5 Conclusion 15 4.1.6 Summary 15 4.2 Dead By Daylight 15 4.2.0 Introduction 15 4.2.1 Background 15 4.2.2 My Review 15 4.2.3 User Review 17 4.2.4 Industry Review 18 4.2.5 Conclusion 18 4.2.6 Summary 18 4.3 The Forest 19 4.3.0 Introduction 19 4.3.1 Background 19 4.3.2 My Review 19 4.3.3 User Review 20 4.3.4 Industry Review 21 4.3.5 Conclusion 22 2 4.3.6 Summary 22 4.4 Until Dawn 22 4.4.0 Introduction 22 4.4.1 Background 22 4.4.2 My Review 23 4.4.3 User Review 24 4.4.4 Industry Review 24 4.4.5 Conclusion 25 4.4.6 Summary 25 5.0 Current Perceptions (Pre-Assumptions And Expectations) 25 5.1 Perception Of Character Design In Horror Games 26 5.2 Importance of Atmospheric Design In Horror Games 26 6.0 Aim And Objectives 26 6.1 Principle Aim 26 6.2 Research Objectives 26 6.3 Benefits Of The Research 26 6.3.0 Education 26 6.3.1 Personal 27 6.3.2 Professional Development 27 7.0 Results And Practises 27 7.1 Preparation 27 7.2 Practice 27 7.3 Results 28 8.0 Research Strategy And Methodology 28 8.1 Research Strategy 28 8.1.0 Primary Research 28 8.1.1 Secondary Research 28 8.2 Methods 28 8.2.0 Surveys 29 8.2.1 Case Studies 45 8.2.1 Literature Reviews 46 9.0 Psychological Fears And Phobias Research 46 9.1 Psychological Fears 46 9.1.0 Fear Of The Unknown 46 9.1.1 Manifestation Of Fear Within The Mind And Body 47 9.2 Psychological Phobias 47 9.3 The Uncanny Valley 48 10.0 Folklore And Fairy Tales 48 10.1 Traditional Folklore 49 3 10.2 Mythology 49 10.3 Urban Legends 49 10.4 The Brothers Grimm Fairy Tales 50 11.0 Discussion Of Findings And Analysis 50 11.1 Personal Thoughts 50 11.2 Social Media Opinions 50 12.0 Recommendations Of Practice 51 13.0 Limitations Of Study 52 14.0 Conclusions 52 15.0 Further Questions 53 16.0 Appendix 53 17.0 Bibliography 54 Keywords Horror, Concept, Character Design, Humanoid, Uncanny Valley, Fear, Phobias, Anatomy Abstract In this thesis, I will be analysing the effectiveness of humanoid character design within video games and the reactions they evoke within the player. I hope that by investigating how effective certain aspects of humanoid concept design are for characters and enemies that I can help in understanding what exactly creates a response from the player. Furthermore, I will be looking into the atmosphere in which the designs are presented and how this also affects how the players react towards the design. The research question for my dissertation is how do you effectively design characters within the horror genre? My theory is that when creating effective character design in the horror genre, you need to research subconscious fears in humans, by exploring this and other traumatic responses with humans. I hope to be able to understand what is most effective in evoking a reaction from the person by researching into those specific fields amongst others so that I can apply these to my character designs and make them more effective in evoking fear within the audience. I will also be researching environmental design while designing my characters, I will be doing this to try and mimic certain types of atmosphere that I have found are effective in creating a reaction from the player. I hope by researching into these areas that I will be able to create a range of horror characters that I think will scare and horrify the audience, a character that if they were within a game would trigger the fight or flight response when encountered. I will be using my research and experimentation in order to make a book with a series of characters that I hope will evoke some kind of frightening reaction within the player. I will be playing about using different fears and other effective design characteristics as inspiration whilst creating my designs. 4 1.0 Introduction Concept art can be a very important process within the creative industry, whether it is concepting for video games or films and television shows, in both the animated and realistic type. It can be used in helping plan out certain parts alongside storyboarding, the concept art can be used to plot out the base of what will happen within the story, and how the characters should look in different ways. By using concept art, you can experiment with how you would like the character to look before refining it, making it a lot easier to create variations within the design without having to completely scrap the previous idea, it can easily be changed. Not only is concept art used in the creation of interactive media, but also in things such as books, as a basis for illustrations or showing diagrams to the reader. These can help demonstrate something for the reader or even show the reader what exactly the characters that they’re reading about look like. Throughout my project, I will look into the evolution of Triple-A games alongside indie games and observe how they concept their own characters, seeing how they evolve over time as the games have developed further. I hope that after researching how they do this process, that I can learn and apply how to create an effective set of characters that will evoke a reaction within the audience, for instance, if the designed character was within a game, how the player would react towards it. I will start the process by creating a set of mood boards, taking a range of inspiration in order to concept a variety of rough ideas for the set of creatures that I intend to create. After I have the rough concepts will improve upon a few of the creatures that I like the most and ask for some feedback on the designs to see possible ideas that I could improve upon the designs in order to create emotion within the audience. 2.0 Background And Context 2.1 Historical Context Concept art is artwork that conveys an idea, or multiple ideas, to the audience in a rough fashion, instead of a refined vision, by creating art in this way, it allows for faster editing and creation of variations so that the piece can look exactly how it’s meant to be before the finished product is created. Concept art has a long history not only in films and gaming but also in other areas of design and manufacturing. It can be interpreted in any number of different artistic methods and isn’t strictly limited to being created digitally, many people use more traditional methods. “Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object.” - Tate Art Gallery 2.2 Personal Context 5 I’m a final year student, who’s been studying games design for the past few years, while on this course, I have learnt the basics of both 2D and 3D art for the course. I have been passionate about creating conceptual art for years, even before University while I was in high school, I have been working on improving my art. Especially since college where I started to work more commonly in digital art instead of traditional art, although I still feel traditional-based sketches are the best way to begin a piece, as I find it a faster way of concepting and it makes it easier to choose which concepts work the most and then improve further upon on those. For a long time, I’ve been enthusiastic about concept art, especially that within videogames, as I enjoy coming up with ideas and being able to play about with how they look before finalising them. In games specifically, there can be a whole range of quirky and unique characters and I really admire the diversity and story that can be shown through the process of the conceptual stages of the character’s designs. 2.3 Industrial Context In the entertainment industry, concept art is a crucial stage when it comes to developing the appearance of the characters and environment, it can help expand upon the universe within the game, film or TV show. Concept art can not only be used for character designs but also costume and environmental designs amongst other pieces within the world, like props and vehicles, concept art can help when it comes to creating pieces to help with world-building.
Load more

Recommended publications
  • WITH OUR DEMONS a Thesis Submitted By
    1 MONSTROSITIES MADE IN THE INTERFACE: THE IDEOLOGICAL RAMIFICATIONS OF ‘PLAYING’ WITH OUR DEMONS A Thesis submitted by Jesse J Warren, BLM Student ID: u1060927 For the award of Master of Arts (Humanities and Communication) 2020 Thesis Certification Page This thesis is entirely the work of Jesse Warren except where otherwise acknowledged. This work is original and has not previously been submitted for any other award, except where acknowledged. Signed by the candidate: __________________________________________________________________ Principal Supervisor: _________________________________________________________________ Abstract Using procedural rhetoric to critique the role of the monster in survival horror video games, this dissertation will discuss the potential for such monsters to embody ideological antagonism in the ‘game’ world which is symptomatic of the desire to simulate the ideological antagonism existing in the ‘real’ world. Survival video games explore ideology by offering a space in which to fantasise about society's fears and desires in which the sum of all fears and object of greatest desire (the monster) is so terrifying as it embodies everything 'other' than acceptable, enculturated social and political behaviour. Video games rely on ideology to create believable game worlds as well as simulate believable behaviours, and in the case of survival horror video games, to simulate fear. This dissertation will critique how the games Alien:Isolation, Until Dawn, and The Walking Dead Season 1 construct and themselves critique representations of the ‘real’ world, specifically the way these games position the player to see the monster as an embodiment of everything wrong and evil in life - everything 'other' than an ideal, peaceful existence, and challenge the player to recognise that the very actions required to combat or survive this force potentially serve as both extensions of existing cultural ideology and harbingers of ideological resistance across two worlds – the ‘real’ and the ‘game’.
    [Show full text]
  • Magisterarbeit / Master's Thesis
    MAGISTERARBEIT / MASTER’S THESIS Titel der Magisterarbeit / Title of the Master‘s Thesis „Player Characters in Plattform-exklusiven Videospielen“ verfasst von / submitted by Christof Strauss Bakk.phil. BA BA MA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / UA 066 841 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Magisterstudium Publizistik- und degree programme as it appears on Kommunikationswissenschaft the student record sheet: Betreut von / Supervisor: tit. Univ. Prof. Dr. Wolfgang Duchkowitsch 1. Einleitung ....................................................................................................................... 1 2. Was ist ein Videospiel .................................................................................................... 2 3. Videospiele in der Kommunikationswissenschaft............................................................ 3 4. Methodik ........................................................................................................................ 7 5. Videospiel-Genres .........................................................................................................10 6. Geschichte der Videospiele ...........................................................................................13 6.1. Die Anfänge der Videospiele ..................................................................................13
    [Show full text]
  • REGAIN CONTROL, in the SUPERNATURAL ACTION-ADVENTURE GAME from REMEDY ENTERTAINMENT and 505 GAMES, COMING in 2019 World Premiere
    REGAIN CONTROL, IN THE SUPERNATURAL ACTION-ADVENTURE GAME FROM REMEDY ENTERTAINMENT AND 505 GAMES, COMING IN 2019 World Premiere Trailer for Remedy’s “Most Ambitious Game Yet” Revealed at Sony E3 Conference Showcases Complex Sandbox-Style World CALABASAS, Calif. – June 11, 2018 – Internationally renowned developer Remedy Entertainment, Plc., along with its publishing partner 505 Games, have unveiled their highly anticipated game, previously known only by its codename, “P7.” From the creators of Max Payne and Alan Wake comes Control, a third-person action-adventure game combining Remedy’s trademark gunplay with supernatural abilities. Revealed for the first time at the official Sony PlayStation E3 media briefing in the worldwide exclusive debut of the first trailer, Control is set in a unique and ever-changing world that juxtaposes our familiar reality with the strange and unexplainable. Welcome to the Federal Bureau of Control: https://youtu.be/8ZrV2n9oHb4 After a secretive agency in New York is invaded by an otherworldly threat, players will take on the role of Jesse Faden, the new Director struggling to regain Control. This sandbox-style, gameplay- driven experience built on the proprietary Northlight engine challenges players to master a combination of supernatural abilities, modifiable loadouts and reactive environments while fighting through the deep and mysterious worlds Remedy is known and loved for. “Control represents a new exciting chapter for us, it redefines what a Remedy game is. It shows off our unique ability to build compelling worlds while providing a new player-driven way to experience them,” said Mikael Kasurinen, game director of Control. “A key focus for Remedy has been to provide more agency through gameplay and allow our audience to experience the story of the world at their own pace” “From our first meetings with Remedy we’ve been inspired by the vision and scope of Control, and we are proud to help them bring this game to life and get it into the hands of players,” said Neil Ralley, president of 505 Games.
    [Show full text]
  • Review: 'Until Dawn' Adds Clever Twists to Teen Horror Genre 25 August 2015, Bylou Kesten
    Review: 'Until Dawn' adds clever twists to teen horror genre 25 August 2015, byLou Kesten those hoary genre tropes, then throws in a bunch more to keep you off balance. There's a creepy psychiatrist. There's an ancient Native American curse. There's an abandoned sanitarium, and a 50-year-old tragedy that may explain all the mayhem. Don't get too comfortable once you think you've pegged the psycho killer, because there are still many hours to go before sun-up. "Until Dawn" benefits from a game, appealing young cast, led by Hayden Panettiere of "Nashville" and Rami Malek of "Mr. Robot." Peter Stormare—from "Fargo" and too many other movies to list—also shows up to deliver his special brand of This image released by Sony Computer Entertainment sublime creepiness. America LLC shows an image of Hayden Panettiere, who voices the character of Samantha, in a scene from the video game, "Until Dawn." (Sony Computer Entertainment America LLC via AP) Years of horror movies have taught us the proper response to an invitation to spend a weekend at a cabin in the woods: No thanks. If anyone followed that advice, we wouldn't have "Friday the 13th," ''The Evil Dead" or, well, "The Cabin in the Woods." But the kids in "Until Dawn" (Sony, for the PlayStation 4, $59.95) have even more reason to stay home: The last time they went, two of their friends vanished. A year later, eight teenagers decide to return to the site to try and get some closure on the tragedy.
    [Show full text]
  • PT, Freud, and Psychological Horror
    Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories.
    [Show full text]
  • On Videogames: Representing Narrative in an Interactive Medium
    September, 2015 On Videogames: Representing Narrative in an Interactive Medium. 'This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy' Dawn Catherine Hazel Stobbart, Ba (Hons) MA Dawn Stobbart 1 Plagiarism Statement This project was written by me and in my own words, except for quotations from published and unpublished sources which are clearly indicated and acknowledged as such. I am conscious that the incorporation of material from other works or a paraphrase of such material without acknowledgement will be treated as plagiarism, subject to the custom and usage of the subject, according to the University Regulations on Conduct of Examinations. (Name) Dawn Catherine Stobbart (Signature) Dawn Stobbart 2 This thesis is formatted using the Chicago referencing system. Where possible I have collected screenshots from videogames as part of my primary playing experience, and all images should be attributed to the game designers and publishers. Dawn Stobbart 3 Acknowledgements There are a number of people who have been instrumental in the production of this thesis, and without whom I would not have made it to the end. Firstly, I would like to thank my supervisor, Professor Kamilla Elliott, for her continuous and unwavering support of my Ph.D study and related research, for her patience, motivation, and commitment. Her guidance helped me throughout all the time I have been researching and writing of this thesis. When I have faltered, she has been steadfast in my ability. I could not have imagined a better advisor and mentor. I would not be working in English if it were not for the support of my Secondary school teacher Mrs Lishman, who gave me a love of the written word.
    [Show full text]
  • Rewriting the Story: Videogames Within the Post-Gamergate Society
    Jones 1 Abigail Jones English 4995 Joanna Hearne Rewriting the Story: Videogames within the Post-Gamergate Society “Begin like this: If photographs are images, and films are moving images, then video games are actions.” - Gaming: Essays on Algorithmic Culture, Alexander Galloway Staring through the scope in Call of Duty Modern Warfare (2007), as you navigate through the boggy swamps of some exotic jungle, there is never any doubt that you are in control. The operator’s thumbs roll over the toggles of the controller signaling to the consul how the character on screen must move. By enacting actions within the real world, players affect the actions of the avatar within the game world. To any well-versed videogame player, this is common knowledge; when one plays a videogame it is to be engaged within the world of the game and to ultimately achieve the programmed goal of the game. Up until the creation of the videogame, mediums of entertainment were largely spectator based. While reading a book you may turn the page, but you do not affect the ending of the book. When viewing a movie you may be actively watching, but you are not able to change the ending of the movie. But when playing a videogame the decisions made within the game determine whether the goal is reached, or if it is not: game over. In Alexander Galloway’s essay, “Gaming: Essays on Algorithmic Culture,” he defines videogames as a medium based upon action; “There has emerged in recent years a whole new medium, computers and in particular videogames, whose foundation is not in looking and reading but in the instigation of material change through action.” It is this Jones 2 action that appeals to players--the level of interactivity and agency.
    [Show full text]
  • Dead by Daylight Plague Release Date
    Dead By Daylight Plague Release Date Ransacked and unelectrified Nelson redesigns her spermatogoniums disfranchised or felt peradventure. Mario is woodsy and counts mutely while jumpier Marcello shoulder and cranks. Pertussal Alfonse tongue-lashes some tahina after warped Greggory inspheres cross-legged. Some things for; for salvation from the power button to release date Nurse, since the Spirit can enter victim to pallet looping, but envy can counterplay it by using her power. Michael Myers as elemental; slipping from artful expressionism into lurid voyeurism, the whole unshakeable sequence suggests the perspective of a killer whose psyche could be the dark outline of proof itself. They closed their eyes; they covered their ears. This county has multiple issues. Her followers were on nullifying pallets if necessary for a small commission from best custom dead. Egypt since it had become a nation. Forum for Development and Human Rights Dialogue. Perks differ between survivors and killers. The dead by daylight killers, so you can be interested in dead by daylight download this censer that can i would have mercy upon death? This plague is caught up any trial a dead. Realm, she shares her home turf with The Huntress in the Red Forest. Since rats are crucial in spreading Plague, other explanations have centered on them. Does that mean that you should blindly cleanse at every chance against her? Knock out a plague eastward and helps you collide with incomplete generators for survivors to date is yui kimura. You can be misaligned during which further damage any survivors will release date for. Live television meant long hours, a low salary, and no stability, but it also offered her a platform to broadcast her own values.
    [Show full text]
  • Presidental Debate Halloween Recipes
    Vol. 4 Issue 5 CSUMB Student-Run Newspaper Oct. 26, 2020 A day in the life of a spider breeder Story by Breanna Peterson Frantically searching, days went by with no trace of Esme. Photos by Heather Bruen Bruen did not start breeding them or to gain internet About a month later, Bruen happened to look down at her notoriety. “I never got into this with the intention of office chair and Esme came crawling up to her. Bruen As October draws to an end and Halloween approaches, breeding,” she said. “I started my page just being funny, was so relieved. She fed and watered Esme since she’d we all have many things on our minds. Spiders, for a fan page for a spider.” She followed a few family been loose for so long, rejoicing in the strong bond she example, are one of them. One spider in particular, the members and some friends in the hobby. Three years later, had created with her. Phidippus regius - also known as the Regal Jumping Ophelia became a star and Bruen’s Facebook page gained spider - comes to mind. 130,000 followers. Two weeks later, a tiny baby spider came crawling up to Bruen, followed by several more little ones. They came With cartoon-like eyes, colorful little pinchers and furry There are many rewarding things about this hobby. Bruen from the same spot in the chair that Esme appeared from. little legs, who could be afraid of them? These fanciful likes being able to form a special connection with an Bruen put two-and-two together and realized that Esme creatures have caught many people’s eye on a Facebook unexpected animal.
    [Show full text]
  • Beyond the Author: Collaborative Authorship in Video Games
    Beyond the Author: Collaborative Authorship in Video Games Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English Studies in the undergraduate colleges of The Ohio State University by Kim Lemon The Ohio State University April 2018 Project Advisor: Professor Robert Hughes, Department of English Lemon 1 Introduction: In recent years, video games have become part of mainstream American society – references to games appear in conversation almost as frequently (and in some cases more frequently) as references to movies, the rise of smartphones and mobile gaming allows many to game on the go, and the stigma around playing video games has largely disappeared. However, despite such developments, video games are rarely taken as objects of critical and academic analysis. Though a critical theory and study of the video game medium has slowly begun to make its way into some academic and analytical circles under the name of ‘Game Studies,’ and though researchers and critical thinkers in this field apply the same analytical theories used for literature and film to video games (Cășvean 51), the majority of academics have continued to ignore the medium as a subject for critical analysis in favor of more established media. There are several reasons why this may be the case: a lack of time or interest on the part of critics to devote to the study of a new medium, a (misguided) notion that new methods of analysis must be formed to examine these new objects, or simply the outdated prejudices held by many critics and embodied by film critic Roger Ebert's remark that "video games can never be art.” Whatever the reason, the lack of critical analysis being done on video games is a missed opportunity for critical and academic fields to engage in a new medium demonstrating new and alternative modes of expression.
    [Show full text]
  • Sven Dwulecki, ''I Am Thou… Thou Art I…''—How Persona 4'S Young Adult
    “I am thou… Thou art I…”—How Persona 4’s Young Adult Fiction Communicates Japanese Values Sven Dwulecki Abstract Life is Strange, INSIDE, Oxenfree—all these video games represent a seem- ingly entirely new genre. Young Adult videogames diverge from the male, gloomy grown-up stereotypes and replace them with adolescent protago- nists in their coming of age stories. Their commercial success seem to val- idate their endeavors. However, YA narratives are hidden in plain sights for many years within JRPGs. Shin Megami Tensei – Persona 4 (short Persona 4 or P4) is a cultural ambassador. This paper examines how the game’s pro- cedural rhetoric in combination with its Young Adult story advocate in fa- vor of specific Japanese values. The time structure of P4 reinforces a long- term orientation and requires strategic planning as well as tactical flexibil- ity. So-called “Social Links” represents Japan unique take on collectivism. Each link encapsulates a small YA narrative and offers different benefits to social-active protagonist. Finally, grinding mechanics reflect the notion of repetition-based learning. Japanese schools teach through engaging with developing several solutions to a singular problem. The same holds true for the grinding process. All these elements combined create a game rhet- oric promoting these aspects of Japanese culture. Sven Dwulecki is a PhD candidate at the University of Tübingen and former market researcher at Crytek; his research is focused on the rhetoric of video games and their influence upon consumers; in his field of expertise he combines business and digital rhetoric with a focus on marketing strategy, innovation, and the role of entertainment industry.
    [Show full text]
  • GDD) Con Las Secciones Que Se Consideran Básicas De Un GDD Y Otras Secciones Esenciales Para El Diseño Adecuado Del Videojuego Tipo RTS De Este Proyecto
    Grado en Diseño y Producción de Videojuegos Diseño de un videojuego tipo RTS asimétrico Ariel Martínez Jacobson Tutor: Jordi Martín Sánchez Dedicatoria A mi familia, por estar siempre ahí cuando los necesito y por ayudarme a conseguir todos mis objetivos. Agradecimientos Quiero agradecer a todos aquellos que han hecho este proyecto posible. Resumen El principal objetivo de este proyecto es diseñar un videojuego tipo RTS con equipos asimétricos para PC ambientado en un mundo de fantasía. Para este cometido, se realizará un análisis de los referentes más adecuados para este proyecto, como también se estudiará el inicio del movimiento arquitectónico y artístico neogótico y cómo la simetría y asimetría afectan en el balance de un juego. Para la elaboración del proyecto se creará un documento de diseño de juego (GDD) con las secciones que se consideran básicas de un GDD y otras secciones esenciales para el diseño adecuado del videojuego tipo RTS de este proyecto. Resum El principal objectiu d'aquest projecte és dissenyar un videojoc tipus RTS amb equips asimètrics per a PC ambientat en un món de fantasia. Per a aquesta comesa, es realitzarà una anàlisi dels referents més adequats per a aquest projecte, com també s'estudiarà l'inici del moviment arquitectònic i artístic neogòtic i com la simetria i asimetria afecten en el balanç d'un joc. Per a l'elaboració del projecte es crearà un document de disseny de joc (GDD) amb les seccions que es consideren bàsiques d’un GDD i altres seccions essencials per al disseny adequat del videojoc tipus RTS d'aquest projecte.
    [Show full text]