!gamedev and !game_design might be able to help you too. Idea sounds very cool! I’d love to play when it comes out.
The princess telepathically communicating with the knight does not have to be the same as if you were playing as the knight. You could have it that way, such that she tells him every time to jump or swing his sword. Or you could limit her telepathy communications to a few per day, so she can only give him general directives and check his progress/environment. You will not have all the information all the time and have to guess the situation off the few snapshots in time you get and hope the orders you give lead him to you. I swear there have to be a few other games with the idea of the player character having to influence others and not being able to directly act themselves, a kind of “person in the control room giving the orders” simulator, that you might be able to look at.
Sims 3 is generally agreed to be the best by the people talk to, but my favourite is sims 2… (probably cause nostalgia :3)
Anyhow 4 is free and runs on mac from what I can see, so… just go with that x3… I personally wouldn’t pay for the DLC and just mod it, but I dunno how macs are in terms of mods
The sims 4 launched at full price, mind you, and later got made free for… some anniversary I believe :3… as a full price game it definitely got a fair bit of slack cause overall it had less content than the previous games, and people didn’t like needing DLC for what they considered base features, but… free is free ¯\(ツ)/¯
Fwiw I still found 4 a lot of fun, it has enough unique features and the loading screens were much shorter than previous games. But I also didn’t play with dlc, so that probably helped.
2 is my favorite but I do agree with others that 3 is better. It has so much customization built in and the more open world is more fun to play in
Oh definitely :3… nothing wrong with 4 as a stand-alone, just series wise at launch it was a bit lackluster :3… there’s definitely still fun to be had with it ^^
Some games do, some games don’t. It’s a design choice.
Also, Oblivion was released originally in 2007, and Morrowind in 2002. The consoles, game logic, and gfx were a fraction of what modern games can do, a lot of games (most, in fact) back then didn’t have the fancy animations for all directions. There were likely other backend/engine limitations at the time that don’t exist today, because CPU/GPU power.
ETA: as someone who has coded a 3rd person camera and animations in 3D to work in all directions, it really fucking sucks to do in a well-known engine with online search available from others that have done it before. Now imagine having to code everything like that from scratch into a custom game engine, being one of the firsts to figure it out. I’m also gonna guess other bugs were far more important than which direction the character is walking in TPV, being a Bethesda game and all.
Maybe the game is figuring out HOW to send him messages and assistance. Like the princess is trapped in a room full of stuff and she has to figure out that she has to grab a tapestry off the wall and charcoal ash from the fireplace so she can write a big message on the tapestry saying ""I'M IN HERE" and then hang it out the window so the knight can find which room she's in.
And another puzzle could be that she has to figure out how to get a key to the knight who is unable to get past a locked gate in a hallway, so the princess has to find the key, and then she has to figure out that she has to tie it to the waist of a guard who walks around the hallways so that the knight can grab the key off the guard.
Another puzzle could be something with figuring out you have to do something with a rat that scurries between areas.
Another could be doing something with a bird that flies somewhere and does something helpful
Another could be using the toilet tube to drop out a map to the knight waiting below (castle toilets were just a hole in the wall)
Another could be freeing a monster from another cell so the monster will kill all the warriors waiting in the hallway before the knights arrival
Another could be talking to the person who delivers her meals to convince/trick him into doing something outside like drawing an arrow on a hallway wall so the knight knows which way he should go
Etc.
And importantly you can have the story lead to her being in different locations so that the game environment can change to keep it fresh. Like as the knight starts to get close to her location the bad guys will move the princess to a more secure cell (with a wink message to the player audience referencing mario "the princess is in another castle"). And the game can actually start with her trapped in a wing of her home castle with her dad (the king) trying to keep her chaste away from interaction with any men. So she can be trapped in multiple different places throughout the game as the player advances through the game
I’m only a hobbyist promammer but have probably read too much about game design. So all this advice is theoretical, I’m just quoting. All I have read always suggest that theme must follow gameplay, not the other way around. Suggestions are always to work on gameloops and gameplay elements first. Also, if a game can’t be physically prototyped, it isn’t ready for development yet. This is an odd suggestion unless you have tons of experience with board games, most games we play can be traced to physical simulation. RPG, FPS, puzzle games, management games, even visual novels can all be physically gamed. So I would suggest to do that first to find out which gameplay elements make sense with your desired themes. Iterate a lot, then it will be more intuitive and obvious what works with the theme and what doesn’t.
The actual gameplay is based on combat, paintball, and other simulations whose rules are replicated. Call of Duty doesn’t emulate real combat, it’s a shooting range circuit skinned like real combat. The gamefying elements are usually card based, or attribute based, which comes from euro board games. There are games whose weapon customizations are based on RPGs or card based deck building.
Yeah, armies have weapons simulator that shoot blanks and lasers to train for real world operations. There’s also BB guns. Most FPS studios send their developers to these places so they get experience and inspiration for weapon models and interesting level designs or combat scenarios.
If you want to produce the sensation of being trapped you have to use the feeling of power and loss. It stems from the sense of ‘If I could just…’ If I could just get out there, I could defeat that henchman for him. If I could just get out there, I could solve that riddle for him. If I could just escape this box, all would be fixed.
Now, the trick is, because this is a video game, players have a reduced sense of agency. The player’s sense of capacity is ‘what happens when you hit the button.’ Mario, before more modern adaptations, had a capacity to move left and right, jump, run, and ‘use ability.’ The player never had the ability to do anything else, so it never feels like a limitation. No one ever said, ‘playing Mario makes me feel trapped because I could beat Bowser if I could just access the cannon that’s right over there.’
So, to produce the feeling of confinement, one must create the sense of power, and then take it away. Give the player enough power that they could even defeat the dragon, but then take it from them so they feel limited. If you can find a way to make it feel like it’s not even forced, as in they feel like they could have won the game in Act 1, Scene 1, but their lack of skills as a player were what made them lose, all the better.
Would that be your classic ‘meant to lose’ fight, usually against the big bad, which is technically winnable but the vast majority of players will lose and progress the story as planned? The example that comes to mind is Ghost of Tsushima, but it crops up in plenty of games.
It can be that. Never played Ghosts so I don’t know about that one in particular. Some games do other things with it, but that sort of thing is absolutely usable to create that ‘trapped’ feeling.
How does the telepathy get fueled? Is there something the princess has to do because she keeps running out? Can the knight progress on her own without her?
They’re easy to make, actually, all flags and variables, but it seems like a natural fit for what you want to do. The “princess” is usually pretty limited by the trainer, which can be herself or the dragon in this case. Have the dragon own a library and something she can use for training and the game becomes about your princess getting Prison Jacked while finding ways to communicate with her rescue, with events and endings responding to the training choices.
Making the player feel trapped is relatively easy, just place limits on her actions based on the dragon in various ways.
Can’t train in the morning because you have to serve it breakfast. Can’t go riding or outside or whatever until it trusts you or whatever. Can’t research certain topics in the library unless you find a way to sneak in, etc.
Honestly, even if you want more of a 3d exploration game the limitations should probably be the same vibe. Just have the dragon be a constant voice of “No”
When doing the quest in town after the first Oblivion gate, the guards didn’t follow me into the building. Had to look up how to finish the quest to continue.
After that, the PoI marker for bringing Martin back to the monastery was at the wrong location (close to the edge of the map & high up in the sky), so quick travel killed us both. Had to look up where the monastery was to continue.
bin.pol.social
Najstarsze