Kamila Gasiuk-Pihowicz - Koalicja Obywatelska, Platforma Obywatelska
Jarosław Sellin - Zjednoczona Prawica, Prawo i Sprawiedliwość
Michał Kobosko - Trzecia Droga, Polska 2050
Małgorzata Paprocka - Kancelaria Prezydenta RP
Przemysław Wipler - Konfederacja, Nowa Nadzieja
Since you brought it up, what is the difference there? Do you mean gameplay design as in the whole game is this way or as in this scene is not a level? (No I didn’t watch OP’s video.)
Gameplay design is the design of how the game plays. Level design of the design of the levels. In this scenario, the problem is not being able to advance until the platforms are even, which is an issue of gameplay design.
To add to this: “level design” typically covers things like the design of paths through the level (both physically and plot/objectives) and visibility of paths affecting player thinking and choices (ie making it clear to the player how to progress, not get lost). These are “big scale” things, not fine detail.
“Gameplay design” typically covers things like movement, interaction and item/skill progression mechanics. The are “small scale” (or for inventories & skill trees: “no physical scale”) things.
In practice the two terms do often overlap quite a bit, so you can argue basically anything to be in either category.
It's worth remembering that the business model always affects the game design. 6th gen consoles were arguably the most "pure", since obtuse games with strategy guide and hint hotline revenue streams were just about dead thanks to free GameFAQs, and DLC had yet to be introduced. Still, their incentives were to cheaply make as much "value" as they could, which meant churning out levels so that they could put a higher number on the back of the box for how much content you got for your $50 (a little over $80 in today's money). They also knew there was a good chance people would rent the game and decide to buy it off of that experience, so the best content was typically front-loaded, and then you'd get a lot of padded levels in the later parts of the game. It was rare that I would finish games back then, because often times a game would start strong and then end up filling big rooms, that look a whole lot like earlier big rooms, with trash mobs repeating the same simple loop over and over.
I just finished the last level of Perfect Dark (released in 2000 for N64). The hardest part was right at the end (boss fight with rockets being fired at you, one hit and you’re dead) and there are no checkpoints. I repeated this same level so many times and had to read a walkthrough in the end – it turns out I was stuck at a red herring.
I think it’s interesting how other people play. I never plan out my road systems. Highways I have a rough idea, but I personally like the challenge of figuring out that I’ve run out of space and I need to fix it. It ends up feeling like a more realistic city to me, with grid systems meeting that were never meant to collide, weird bits of space, it all makes it feel authentic to me
In cities skylines 1 I started planning for monorail and rail transport systems. Only enough roads to interconnect neighborhood stations, then when you get enough population, tons of buses, then monorails, then trains and try to get rid of as many roads as possible.
To contrast that, I have tried to make the dirtiest, worst cities possible with only roads. Just fun to try different styles.
I think an ideal game starts easy then ramps up the difficultly. At this point you gain abilities that make the game easier and make you feel more powerful. Then the difficulty increases again at the end for the final challenge portion, that way you as a player feel like your have to master your new found abilities.
Like going over a big hill then when you get to the valley on the other side you have to climb a mountain.
I really don't agree with: get stronger must also have world get more difficult. This is how you get scaling difficulty, where you never feel like you're going anywhere, because every upgrade is made pointless by enemies just becoming more dangerous in turn.
Bullethell rogue likes like vampire survivor are getting it pretty right in my opinion. Just have the chance to get ridiculously powerful, but take a bunch of tries. Then add in Hades way of not ending the story with your death and failure, the nemesis system which is sadly patented and you'd have a fairly ideal game where some things will inevitably kill you, but you will get better and the small stuff will only get you still, if you are not paying attention.
I really don’t agree with: get stronger must also have world get more difficult. This is how you get scaling difficulty, where you never feel like you’re going anywhere, because every upgrade is made pointless by enemies just becoming more dangerous in turn.
But in the other case - you get stronger but the world doesn’t get stronger around you, say you keep fighting the exact same lame enemies as in the beginning - then why even continue playing?
The greatest challenge was right at the start. Unless the later parts are exceedingly brief, just letting you bow out on a power rush, why have all those later parts that just end up being trivial?
Shouldn’t the former difficult enemies at least become the trash and new, tougher, enemies get introduced to uphold the difficulty as your new abilities and upgrades make the old ones trivial?
It depends on the type of game I guess. I like the way Final Fantasy 13 did it when you arrived on Gran Pulse. Everything was there from the start of the chapter, there were some enemies you could handle, some that were a challenge, some that were out of your weight class and some that would wipe your team without even noticing you were there. You had to pick your battles and know when to bail. Despite the problems that game had, you could at least feel yourself getting stronger while the world stayed roughly the same.
Interesting, I hadn't heard of this before. I'm not sure how I feel about the environments in the trailer. I think the game looks largely visually appealing, but the trees/snow/rocks seems to clash with the character models.
Nintendo, “Sure that sounds like a great idea … For me to poop on!”
The original artist and everyone who’s viewed the video receives a cease and desist the following morning. They are all instructed to carefully and completely remove any Zelda related material from their minds or otherwise be charged with thought piracy.
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Aktywne