Interaction Design

Most gamers are used to a conventional layout for their controls when hopping from one game to the next. 


This is true of most FPS games - 


Call Of Duty 4: Modern Warfare 


 - Attack

- Movement

- Stand/Jump


- Crouch/Prone
- Aim Down Sights


- Melee Attack 


- Switch Weapons


- Sprint/Steady Scope 


- Throw Frag/Throw Back Grenade 


- Throw Special Grenade 


- Inventory 


- Reload 


- Use 


- Night Vision Goggles 


- Show Objectives/Scores

Medal of Honor

Directional Pad Up = Dynamic HUD. Left = Grenade Launcher. Supper Actions (Multiplayer). Right = Select Fire Mode. Support Actions (Multiplayer). Down = Change Vision Goggles. Left Thumbstick Move Right Thumbstick Aim Click Left Thumbstick Sprint Click Right Thumbstick Melee A Button Jump. Switch Seat (Multiplayer). B Button Change Stance. Prone (Hold). X Button Reload. Context Action. Y Button Change Weapon. Equip Pistol (Tap Twice). Left Bumper Peek and Lean. Alternative Weapon (Multiplayer). Right Bumper Throw Grenade Left Trigger Iron Sights Start Button Pause Menu Right Trigger Fire Weapon Back Button Objectives Menu. Scoreboard (Multiplayer).

Most adventure games follow a similar established layout -

God of War III

GAMEPLAY CONTROLS: Directional Button Switch Weapons Left Analog Stick Move Right Analog Stick Evade. Target Select. X Button Jump. Double Jump (Tap Twice). Icarus Wings (Hold). Square Button Normal Attack. Battering Ram (When Holding Certain Items). Triangle Button Heavy Attack. Launch and Follow Enemy into Air (Hold). Circle Button Grab L1 Button Block. Parry. R1 Button Action. Interact. Drop (From Ledge). Grapple. R2 Button Use Magic Combat Grapple Use Items Rage of Sparta Kick Objects Hold R1 and press X Button to charge and release. Rotate Objects Rapidly Switch Weapon

Castlevania: Lords Of Shadow

(Taken from http://www.castlevaniacrypt.com/games/los/manual-ps3.htm)

So to go from established conventions such as these to this - 

That is quite a radical step. 

Fundamentally it comes down to Nintendo, Sony and Microsoft gaining a broader scope of audience. 

We are a technologically driven society. Even our Grandparents send e-mails. 
Everyone is connected. 

So how do you bring this enclave into the fold? Especially when some have never held a 'Controller' before. 

You simplify the formula. 
Allow interaction using familiar gestures, one button input events, even voice commands. 

Even the most technophobic parent can get involved and not feel like a complete halfwit. 

(see what I did there) 

(oh god.......)

This new model for gaming promoted a very positive experience for players. 
You were no longer slouched back in your chair but 'actively' taking part in a gaming experience.

Suddenly games were focused more on fitness and family activities. 

And soon celebrity endorsements followed, advertisement campaigns spanning Television and the Internet. Nintendo alone spent $200 million through 2006 promoting the wii. 

Helen Mirren on her wii Balance Board

Toys R Us in New York - 2006

I personally feel this was a great progression for the games industry, as it changed the perception of the video gaming culture for the world. 


Everyone could be a gamer. Not just obese spotty nerds in their bedrooms. 

Pearl the information vampire - Blade (1998)
(sorry in advance to fellow nerds!)

Now the games took place in the living room on the big flat screen TV with every one joining in.

Nintendo's wii re-established it's position in the console wars as the highest selling console from 2006 - 2012. And increased its gaming demographic to suit all ages. It has won awards for innovation and "Breakthrough Technology".


Microsoft's Kinect shipped 18 million units between 2010 - 2012. Averaging 133, 333 units per day
And held the Guiness World Record for the "fastest selling consumer electronics device" 
(This record is now held by Apple's iPad which sold 311, 666 per day)

A great product for people who have ants in their pants and just love to dance.


Sony released the Playstation Move technology which didn't sell quite as many units (between 2010 - 2011, 8.8 million units) but advanced the motion controller technology to its highest point so far. 
And earned Sony the Popular Science Award 2010 for "Most immersive game controller"

So now that both the xbox 360 and the PS3 have implemented motion controlled technology into their games, it has placed the wii back in it's low-tech moribund state. 


Which would explain the 180 that Nintendo have pulled recently to appeal to 'core' gamers with this device -

 Nintendo CEO Satoru Iwata made this curious comment in an interview with www.nintendolife.com 


"I now regret that we didn't tie up with someone outside the company to market the Wii. If we had done that, the fate of the Wii might have been different... Now I am aware that we should not rely too much on ourselves. You will see what I mean by this when we market the 3DS and the Wii in the future." 


The growing list of games that feature on the upcoming Nintendo console are more focused on Mature gaming, 'core' gaming. 

http://en.wikipedia.org/wiki/List_of_Wii_U_games


Which just illustrates how cyclic the industry can be. 

Documentation Design

"Even the smallest light shines in the darkness"


Project Outline - 
The aim of this project is to introduce the player to the wonderful world of the 'MINIONS'. 
By sharing in their adventures players will experience a fun accessible game for all ages. 
The gameplay is based around choosing a squad of 4 'MINIONS' out of 22 playable characters, using their distinct abilities to progress through each stage of the game. 
My personal aim is to learn what makes a game fun to play, from start to finish, and to learn the skills to achieve this outcome. 
Decisions will be based on planning, testing and refining ideas. 
I hope to produce a game that will endear the 'MINIONS' to the world.


Game Summary - 
Minion is a slave...one momentous day a spark of defiance is fostered inside of him. 
In an act of rebellion he refuses the cruel commands of his master and is cast from the high peaks of their mountainous tower. 
There in the depths he is rescued by other rebellious exiles and begins to gather more allies to aid in their mission. 


Help the 'MINIONS' overthrow their evil oppressive Dark Lord by combining the strengths of all the 'MINIONS' to undo his diabolical deeds. Journey around the enchanted realms of Maximin and gain the skills you need to liberate the entire planet. 


Game Outline - 
You control any member of a 4 man squad each with their own special ability. The player must navigate through numerous stages to make their way back to the Dark Lords Tower. 


'MINIONS  - Rebelution's intention is to inspire the player to help the downtrodden, underdogs of the story the 'MINIONS'. 
By exploring and liberating the many realms that make up Maximin from the evil forces of the Dark Lord, you gain skills and allies to aid you in your final confrontation with the Dark Lord himself.  


Platform - 
XBLA, PSN, PS VITA, WII WARE, PC.


Genre - 
'Minions - Rebelution' is an Adventure/Exploration game. 


Audience - 
ESRB Rating: E (Everyone)




Technology - 
Characters will be modelled in 3ds max 2012. 
UnrealEngine 3 will be used as the Game Engine. 
The game will feature stylised characters with realistic materials/textures. 

Similar Products - X-men Legends, Warp, Bastion, Marvel: Ultimate Alliance 1, 2, XCOM: Enemy Unknown






Technical Specifications - 


Lead Character 


Minion - 



5,000 Tris 
512 x 512 24bit D/N/S


The main protagonist of the story. Minion is a versatile character able to propel himself over a fair distance by swinging his Morning Star Mace. It can also be used to bash enemies on the head! When his Mace is Upgraded it changes from a Medium Range Attack to a Long Range Attack. 

NPC (Non-Playable Character)


Ogel - 



2,500 Tris
512 x 512 24bit D/N/S



Ogel's are a race of peaceful jelly-like creatures who are under the tyranny of the Dark Lord. 
They are forced to harvest Gems from nearby mines to fill the coffers of the Dark Lords Treasure Vaults. 


The player encounters them in a shanty town village that they inhabit called Oop. Appalled by the squalid conditions and their ill treatment at the hands of your enemy you rise to their defence.

Vehicle 


The Wheel - 



1,500 Tris
512 x 512 24bit D/N/S



Simply put The Wheel is a ramshackle mode of transport for the Minions. 
It is powered by a hand crank which the player must operate to put The Wheel into motion. 
The 4 playable characters must take turns on the crank as it can be very tiring relying on just one Minion. 

Environment 


The Sand Traps of DUME - 


(Vertical Slice)


Small Rocks are 256 x 256 24bit D/N/S
Large Rocks are 512 x 512 24bit D/N/S


Tile-able Ground 512 x 512 24bit D/N/S


Tile-able Sand 512 x 512 24bit D/N/S


Once a lush and verdant land, now a mixture of barren rock and shifting sands. A desolate wasteland hiding a deadly secret. 


What lies beneath the sands?

Props - 


Springboard - 


(Game Mechanic)


400 Tris 


256 x 256 24bit D/N/S


Can be jumped upon to reach higher platforms or just for fun. If you like that kind of thing.

Swing Ring - 


(Platform Primer)


400 Tris 


512 x 512 24bit D/N/S


The Swing Ring is used to circumnavigate environmental hazards. Once a player has connected with the Swing Ring it literally 'swings' them around to an adjacent platform. 
The chicken has no known function. It is just a chicken.

Sounds like a good idea

Having themselves influenced some of the most influential musical artist of the last few decades, I think it's safe to say that Rodgers and Edwards' contributions to music have been profound. 


Through his production skills and reputation, Nile Rodgers has given credibility to the world of video game music.


Whether they are responsible for recording the most influential recording of the 20th Century is debatable. Maybe the most influential bass line? 


'Good Times' was used as the first Hip Hop backing track, so it is conceivable. 


The most 'sampled' recording of the 20th Century that I know of is the Amen Break, taken from soul and funk outfit The Winstons - Amen, Brother. 

It comprises 4 bars of a drum solo which is responsible for spawning several subcultures of music 

Drum and Bass, BreakBeat, Jungle, Breakcore, Hardcore, Hardcore Techno. 


And having an impact on the genesis of genres like Industrial, Electronica, Dance and Pop. 


The origin of the Amen Break is from bootlegging Hip Hop DJ's. 
Using early sample-based techniques to extend the beat, they would switch between two copies of the record on separate turntables to essentially make a 'drum loop.' 


They would then 'pass it on' to their contemporaries.


http://en.wikipedia.org/wiki/Ultimate_Breaks_and_Beats


And the rest is history!
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This short documentary on the changes in Video Game music -


http://www.bbc.co.uk/iplayer/console/b00yj887


Even if a game features next-gen graphics that lavishly emulate realistic worlds and people, without sound it fails to immerse us. 

“Films are 50 percent visual and 50 percent sound. Sometimes sound even overplays the visual.” 

– David Lynch, Director

This is equally true of video games. 
As we can only experience these new worlds with 3 of our 5 senses (Touch, Sight, Sound) it is 
important that they are each considered at the least an equal amount of detail. 


Decades ago the sound was always added last in the development of a game. 
Now it has the benefit of being woven into the art direction of the production pipeline to enhance that development. As games have become more sophisticated the standard of audio has evolved to compliment that change.


Sound heightens our experience. It can actually cause fear, joy, loss and tension so thick you can barely creep around the next corridor. 

"I can see the sounds!"

And more importantly it helps tell a story. 
If the player is becoming anxious or stressed in-game we hear sound cues in the form of an elevated heart beat or even ragged breaths. In some cases the ambient sounds around the player are perceived differently, almost washed out. To give the impression that you might be slipping away yourself, unless you pull your act together! 


Dark Sector developed by Digital Extremes had some good sound cues - 

Some of the creatures you encountered sounded extremely creepy. They weren't exactly tough but you certainly felt like keeping your distance.


I sometimes find that the sounds for whomever you are controlling can have a distinctly more powerful feel to them than your opposition. I expect this is to empower the player, to make them feel like they are a force to be reckoned with. 
Which is a desire that a lot of people must need and want to be fulfilled. 




LIMBO developed by Playdead presents a great experience for any gamer. 

Singularity by Raven Software had some really creepy monsters. 


Listen to this -


Singularity - Zek Sounds from Raven Software on Vimeo.


And this -  


Singularity - Crank It Up! - Un-Squashed Version from Raven Software on Vimeo.






Here we have a video of the Sony Music team working alongside virtuoso sound designer 

Amon Tobin to create the musical score for Sucker Punch Productions 2009 game inFamous.

Amon Tobin is also responsible for the gripping soundtrack to Ubisoft Montreals' Splinter Cell: Chaos Theory in 2004.
http://splintercell.wikia.com/wiki/Amon_Tobin

This game features a highly dynamic score that is affected in real-time depending on the level of action and plot developments. 

Audio and Scores for games are now handled with the same design principles as with the film industry.
Musicians create lavish and beautiful sound-scapes that epitomize the levels we all know and love. 
On top of that the audio is dynamic and adaptive. 
It rewards you or chastises you if you do something wrong. It changes pace and tempo depending on how you navigate around the game itself. Which is an incredible feat to layer so much content on eventuality. 


As another 'achievement unlocked' video game soundtracks are now entered in prestigious award ceremonies such as the BAFTAS and the GRAMMYS.

Here are a few composers I know of - 


Hans Zimmer - Crysis 2: Intro, Call Of Duty 2: Modern Warfare - Opening Titles.
(And so many amazing film scores)


Greg Edmonson - Uncharted: Drake's Fortune, Uncharted 2: Among Thieves, Uncharted 3: Drake's Deception. (And he also scored for the sorely missed TV show Firefly)


Jack Wall - Mass Effect, Mass Effect II.


Norman Corbeil - Heavy Rain. 


Petri Alanko - Alan wake.  


Russell Shaw - Fable, Fable II, Fable III. 




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Just to overemphasize the scale and drama of the sort of compositions we enjoy at home, check out when The London Philharmonic Orchestra gets a hold of them - 

Dead Space: Welcome Aboard The U.S.G. Ishimura - The London Philharmonic Orchestra and Andrew Skeet.

Bioshock: The Ocean On His Shoulders - The London Philharmonic Orchestra and Andrew Skeet.




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Nostalgia time!


Here is my first favourite video game theme song - Shadow of the Beast II (Amiga)

Followed by Robocop (C64)

Incidentally I remember a few years later hearing this theme used for a washing machine advert.
(I just found it on youtube)


Then we have Switch Blade (C64)

I can't forget SWIV (Commodore Amiga) 

Oh my God - Midnight Resistance (C64) 

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As games become more cinematic and film becomes more like an interactive experience (3D, IMAX) the potential for creating an 'interactive motion picture ride' seems like a real possibility. With the advent of adaptive sound technology that literally follows you around, the level of immersion can only be increased. 

We'll just have to wait and see, I mean hear ;)