icyhotspartin

Administrator
  • Content Count

    296
  • Joined

  • Last visited

  • Days Won

    38
  • NLD Points

    1,332 [ Donate ]

icyhotspartin last won the day on May 19

icyhotspartin had the most liked content!

6 Followers

About icyhotspartin

  • Rank
    Comfortable in my forum skin

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

Display Name History

  1. "And HALO’s use of reusable environments in the place of idiosyncratic puzzle-driven levels brings architecture to the fore, as it is used to for three purposes: to establish a sense of place, to tell a piece of the storyline in a visual format and to provide a physical platform for the gameplay experience. In this, the game’s architecture is asked to fulfill a role similar to that played by the cathedrals of the medieval period, buildings which were expected to tell a story as well as serving a purpose. That the architecture of HALO is more ethereal than that of the cathedral and that it serves more mundane ends does not lesson the similarity of the usage. Indeed, there are devotees of pure materialism who might reasonably insist that the game’s ultimate object of temporal amusement is more concrete than the cathedral’s purposeful glorification of a trans-temporal sky deity." https://www.amazon.com/Halo-Effect-Unauthorized-Successful-Video/dp/1933771119/ref=pd_bbs_sr_3/102-9331982-9775369?ie=UTF8&s=books&qid=1176709259&sr=8-3 Thought this was interesting, given the recent discussion surrounding performance art and poetry and their relation to the experience of an artistically integrated game world. The essay is pretty long, but has a lot of good historical details in it. I caution the zealous embrace of the Wagnerian aspects, since it's important to realize that games are games, first and foremost - and that no art can ever be totally transcendent in the manner he describes. But man, games sure are useful for telling stories with. And definitely can elicit emotions, depending on what situation they put you in. And how invested you are in that situation. You can't elicit any strong emotion from someone's experience of gameplay if they haven't already bought in to your setting, and the context/system of gameplay. Can you imagine how much more stressful a game of CoD would be if every life cost you $5? How much more would be on the line for the average player, financially and emotionally? Take a hint from another luck-based game; high-stakes poker is probably the most stressful game you can play. No one's really gone and done that with an FPS yet. (Maybe Wall Street comes close for a few...) But that's only two, maybe three emotions: fear, anger, and elation. I don't think stress is an emotion - just the overwhelming experience of many different motivations and value-pursuits at the same time. My question: can a game elicit any strong emotions other than the three I listed above? And can those other emotions be experienced as the primary result of gameplay, rather than as a result of the artistic direction, music, storyline?
  2. icyhotspartin

    Sextant

    Soon this page will be updated with links, a short description of the level, its contents, and the thinking behind the design. Enjoy some pictures and sounds. 🙂
  3. The version I was discussing in that post is now outdated but the general shape of the map is still basically identical. It was my intention to get the feel of that level of Halo 3's Campaign, yes. That includes the experience of fighting uphill for one team, and the other team defending their higher position - but the holding of that position is not the only thing I want players to do. I want them to drop down and push for the sniper, so that they can then push back uphill and use it to its full advantage. That way both sides are put in the mindset of pushing. The same thing goes for the placement of OS, with the strange detail that a successful push for OS can give the player the ability to both reset the map and grab the sniper, beginning the push uphill once more. I do need to find a way to better incentivize the use of the eastern side of the map, but so far the new paths are holding up well, I think. I'm surprised at how nice Mythic feels on it. Major priority is the framerate, as usual. The other thing is making sure everything looks the same variety of Forerunner, and that the lighting is fixed.
  4. That was a very interesting read @a Chunk, very cool. I haven't yet played the original DS, so your experience is giving me a(nother) very good reason to pick up a copy. It makes me think back to playing Sekiro - the FromSoft formula is pretty strong in that one too, but the way that the tells are really blatantly telegraphed, with red glows/indicator lights has always bugged me. This same thing goes for that Respawn Star Wars game. The rhythm and flow of combat that you describe as being something you discover and learn in DS is not 'organic' to the experience of either of those other games, and makes them feel more like a percussion or rhythm exercise, like Parappa the Rapper or DK Bongo Beats. The effect of including visible tells is similar for the final function of gameplay, but the effect on the experience is completely different. It's less learning the nature of the enemy/world than it is an infantilized form of call and response. I think this topic extends into the field of real education, too. Cool stuff.
  5. Both are meant to put the first to sniper spawn on edge, not to the point where anyone porting gets a free kill, but so that they are able to create or continue an engagement and fight for sniper. Eyes on the exit while fighting, allowing for chases. The closer one is meant to be the more obvious and dangerous route in, but the one with the least visibility in and out. I may move it closer to the cave room entrance. The Green one is similar in that both are meant to allow players to see each other and choose how to engage. Sniper is meant to be easy in, but limited options out - either you go low, or you go along the ridge. Or you can stay and are in the flattest, most nadeable place on the map. It’s not a really dominating place to snipe from either. I’ve also just never seen a map with teles that end up at the same spot. Adds some spice. So far that’s how it’s played in testing, so I’m pretty pleased. Edit: I’ve been told that the tele exits/sniper is a bit too easy to hold at higher levels. I’m considering various changes to address this, including raising the height of the central donut and adding a second path out of it, towards the weapon pod. I’m also considering my options re. Terminal room aesthetics and geometry, and Tele Room size/depth.
  6. Coffee does have some psychoactive properties if taken in high enough doses, but that's due to the caffeine It can be highly addictive if you do not monitor your intake Yesterday's This morning's screenshots were brought to you by Starbucks French Roast and Up n Up Multivitamins
  7. I don’t understand the question objectivity is objectivity if its entertainment, automotive engineering, level design, whatever