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Jugabilidad (Parte II)

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Diseño de videojuegos

Université autonome de Barcelone

4.5 (215 notes) | 8.8K étudiants inscrits

Cours 2 de 6 dans Diseño y Creación de videojuegos Spécialisation

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VERSIÓN ESPAÑOL Dentro de la creación del videojuego, ¿qué papel juega su diseño? Este curso proporciona conocimientos y pautas sobre cómo diseñar un videojuego. Partiendo desde un concepto básico, se dan las pautas para trabajar correctamente sus conentidos, de cara a conseguir un objetivo claro: el documento de “game concept” que constituye el documento inicial sobre el que se basa cualquier videojuego. De cara a mejorar la comprensión de los conceptos, los ejemplos y referencias se fundamentarán en videojuegos reales, para permitir así visualizar el documento y cuáles son los resultados finales del diseño descrito en el mismo. IMPORTANTE Puedes seguir el curso también en Inglés (subtítulos y cuestionarios). _________________ ENGLISH VERSION Which role plays design in video games creation? This course provides guidelines and knowledge on how to design a video game. Setting off a basic concept, they give the guidelines to properly work on their contents in aim to get a clear objective: the game concept document is the starting document on which any video game is based. To improve the concepts comprehension, the examples and references will be based on real video games, to help us visualizing the document and which are the final results of the specified design. IMPORTANT You are able to follow this course in English (subtitles and quizzes).

Compétences que vous apprendrez

Video Game Development, Video Game Design, User Interface, Game Design

Avis

4.5 (215 notes)

5 stars
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JE

Jun 18, 2018

Me parece un curso excelente, cumplió con su objetivo que es aprender nociones básicas para empezar con el diseño de videojuegos en sí.

M

Oct 22, 2017

Excelente curso, muy bien explicado, fácil de asimilar y aplicar a los proyectos de diseño de videojuegos incluso tempranamente.

À partir de la leçon

Elementos básicos del diseño I

En este módulo entraremos de lleno en los elementos clave para entender el proceso de diseño de un videojuego. Empezaremos analizando al jugador y definiendo la experiencia que queremos que sienta; también comentaremos una visión general sobre los elementos artísticos y tecnológicos que son necesarios tener en cuenta a la hora de diseñar. Daremos especial atención al estudio de las mecánicas, el control y el balance, que suponen el núcleo del diseño conceptual de un videojuego. Finalmente analizaremos qué es el gameplay (jugabilidad) y cómo se puede ajustar según sea necesario.

Jugabilidad (Parte I)4:18

Jugabilidad (Parte II)5:47

Enseigné par

Enric Martí Gòdia
Associate Professor
Pere Nolla Rodríguez
Freelance y Colaborador docente

Gameplay design involves adjusting each mechanic's parameters.

In the beginning we decide to create each mechanic

thinking on using it in a certain way,

but usually the thought effect isn't immediately the one we want.

We need to realize an adjustment process, once we can observe in the engine

how the different mechanics interact in practice.

An example is the character's speed in a platforms game.

We might need to increase or reduce the character's speed

or his jump's height,

as completing a level can take more time than the expected and bore us.

Another example can be the aim.

By modifying the precision's range, we can make it easier or harder to

hit the bull's eye.

Another example is the damage caused by a weapon in a fighting game.

By modifying this attribute we make this weapon and its bearer

more or less powerful and relevant for the video game.

Adjusting the mechanics can take us to the extreme

we realize that we need to create a new one or, on the other side, delete one.

This happens when we see that the simple adjustment of the existent mechanics

doesn't give us the desired effect in the experience.

The gameplay design also involves giving each mechanic a specific

importance regarding the others.

During the different level mechanics will be mixed and

intercalated, sharing the time game.

Let's put the example of a jumping mechanic in a platform game.

Well, in a level we can put a 25% of plain zones, in which there aren't holes or

platforms, and the left 75% will be platforms in which the player has to jump.

This is a kind of playability in which we give more importance to the jump than to the

shifting or exploration.

A platforms game can have this playability,

as the jump has more importance than other mechanics present in the genre,

such as exploring, beating enemies, solving puzzles and using objects.

Also, apart from the total proportion,

we must take into account how to mix and share it.

Usually the different mechanics alternate,

trying to create action and rest patterns that repeat during the level.

If we have a 75% of jumping, maybe we want to spread it all over the level,

using the 25% left in middle resting zones.

Something similar would happen in shooting and combat games,

in which shooting and hitting will be more important than exploring and solving puzzles.

The gameplay's implementation is mostly a process which is applied

in a circular way with the idea of improving the result in each application.

First we implement a mechanic and then we evaluate its

effects on the other mechanics that we have already implemented.

Based on these effects, we change and adjust this mechanic's parameters.

In example,

if we see that an enemy is harder to beat than we expected, then we change its

capacity of receiving damage to make it more vulnerable to our attacks.

After each change, we evaluate it again, and this cyclically,

until we get a satisfying result,

or we end up discarding it as it doesn't fit as we expected.

The evaluation part is very important.

When we evaluate design and its implementation,

we must be able to do it with a critical and active sight, knowing what we're looking for.

We must try to foreseek where the fitting errors or problems

can be in the mechanics.

It is very recommendable that, apart from designers,

people from other departments test the design, as sometimes

being on the game as much as designers

can be counter-productive, and a further look can bring clarity.

To better use the evaluation we must note down all the elements we

observe, to adjust them with more precision and agility.

To improve the design implementation process

it is recommendable to initially assume that everything will probably require an adjustment.

We don't have to be obsessed with everything working and fitting at the first try.

We must try different options,

either the ones initially planned or the others that come out in each occasion.

If necessary we can try taking it to the extreme simply to know

what happens.

We must also rectify if what we have previously thought of doesn't work,

it is better to rectify and try to not force the situation,

to make it work as we wanted it to.

Finally,

it is very useful to look for referents on how other games build their playability.

To finish, we will talk on some gameplay styles

which are usually used in media.

These styles make reference to some key characteristics

that differentiate them.

We talk about a Casual gameplay when in a game we use

few main mechanics, with a simplified control,

little variety and little difficulty progression in short games,

with a little history importance and focused to a non-expert audience.

Arcade gameplay also involves an easy control, and few mechanics,

but it shows more environments variety and more difficulty progression, with

games with different length, where the story can have little or middle importance,

and targeted to an audience that is already used to playing.

Hardcore gameplay has a complex control,

according to a wide range of controllable mechanics, in environments and

settings with great variety and with a lot of difficulty progression.

Games are usually long, with a relative importance of the story, as they

usually look for multiplayer competitiveness, and targeted to an expert and exigent audience.

Simulation gameplay offers a very complex control, with a lot of

mechanics, with little difficulty progression, games tend to

be long and without a lot of importance on the story, and they are targeted to an expert audience on the

simulation's topic, as they look for a realist representation.

Well, these tags are generalizations,

therefore they aren't precise or exact, but they can be useful to quickly

distinguish game types and associated experiences.

In the next module we will use them to describe the

different genres.

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