RPG-7

My attempt at a grey-boxing project, of a 1980's style Russian boulevard.

The process (and how I nearly adapted it into my game):

"Attach" attaches individual blocks to each other, as the name suggests. This can be used to create structures and other modules, allowing a base to be created (and to be easily imported) into other software such as Unreal Engine so that the map/level can be expanded on aesthetically.

"Erase" erases existing blocks/shapes, hence the name. This can be used to get rid of unused assets.

"Paint" allows you to paint any structure within a 256-colour palette.

With the palette, the user can do one of three things; save the palette, import a palette or create an entirely new palette

(Above): Resolution of the project, 256-256-256, with options to switch between the world and the model (on the far right) and "fit model size" on the right.

Assetto Corsa - Driving simulator - Developed by Kunos Simulazione:

(Above) Graphics-modified Assetto Corsa utilising "Custom Shaders Patch" (plugin: Content Browser for AC).

Assetto Corsa, or in Italian (lit.) "Racing Setup", is a racing-driving-simulator that allows for a more realistic experience to a driving game; instead of the usual arcade-type racing games like Forza or Need For Speed.

Assetto Corsa is unique in that its development team actually encourages modifications, they find that it modernises the game and makes it more appealing to both advertising and the general player base. Kunos's game includes multiple real-world tracks and circuits that players can use, and cars from various brands that are included in the base game. DLC content is not near-and-far, with plenty of options to expand on the existing vehicle list in game; additionally, with the use of modded vehicles you can test and drive other vehicles that wouldn't regularly feature within the game.

Graphics mods, and setting regulation is made easier with certain plugins; such as that of the aforementioned "Custom Shaders Patch" within Content Browser that helps the setting up of filters, LUT profiles and customised weather/timescale settings. Also, configuring steering wheels is simplified and settings can be changed on the fly; the Logitech G29 and Fanatec series of peripherals can be adjusted to dynamically within its own categories in CSP.

(Above) Artwork credit of U/SingularityObject.

(Above) Artwork credit of U/General_Vilicius.

(Above) Artwork credit of U/GeneralPlague

For a decade old game, GTA V definitely stands tall within the other triple A titles released at that time; the attention to detail, whether it be with civilians who make the map lively to areas where you can explore without necessarily having to complete missions.

It is safe to say that audio is a huge part of GTA V, and its environment. Its in everything from the music that plays in cars to when civilians talk on the phone or to each other.

An example of a type of audio commonly used in games is dynamic audio, whereas you could walk into a room for example and music would get louder as you enter and quieter as you exit; this certainly is shown where you can hear the radio playing as you walk past certain buildings (and the songs are dependent on the area you are in on the map, making it even more unique and attentive to detail). The radio stations in game are sometimes divided, for example having specific radio stations for specific areas or zones; two examples of these are Radio Mirror Park and Still Slipping (Radio Mirror Park being focused in and around the Mirror Park area and Still Slipping having a very small radius just outside of Mirror Park and within East Los Santos.

Another element of audio is when characters interact with each other while passing by each other, this could be considered dynamic because it retains within GTAV's atmosphere. Civilians have varying voices, varying voice lines and different ways of approaching things; which makes the game unique in a way that it represents the lesser cared-about details within the game.

Additionally, it wouldn't be fair to not add the use of dynamic emergency siren audio; when a police car or multiple police cars are responding, you will either hear the singular one or a doppler effect of all of them together which is also variable to the distance at which they are positioned from the player.

Some very small details about GTA Vs weirdly unique and expansive dynamic audio that nobody really notices:

The use of faint car revving sounds, and the sounds of honking when in larger metropolitan areas.

Distant shooting and explosions, with bullet cracks and whizzes.

Faint but noticeable wind sounds when near wind turbines, open areas or up high.

Walking sounds dependent on surface; for example squelches when in wet mud.

Some NPCs sometimes get annoyed, and some randomly insult you; another weird detail about GTA which makes it...GTA.

Conclusively, I think the way GTA has implemented audio makes it just that more realistic; and helps build a nice and lively atmosphere to roam around in.

Arabic-style townhouse made by combining modular building structures together, in UE 5.2.

Level design in the Last of Us II is done in specific standards, in terms of what colour palette is used and what is actually added as content in the game; this could also be reflecting on the general atmosphere and dynamics in the game, those being the cutscenes and cinematics.

This standardisation of design helps developers implement relevant and high quality content, and thus adding more detail and certain hidden features within levels.

Prototyping, as in terms of grey boxing, is found to be really useful in planning the completion or mapping of content in a game; in simpler terms, prior development helps concentrate ideas into compatible ones.

One thing that I tended to focus on the most with the video was the use of the camera angles, so things appear later to give a little edge of detail into the background of the game; I personally think that this gives some personality to the game, and takes your mind off of the main objectives for some time whilst also taking in the design in the level and its layout.

In my game, I think that the use of detail will be very useful in adding an atmosphere and liveliness into the background whilst also simultaneously completing objectives and tasks; this would prove to be important because Im planning to have it be so that you must be attentive to your surroundings in order to not miss anything, this way the mapping of the layer helps you achieve these objectives.

Conclusively, in a semi-free-roam like game; whereas you can move your character around the level, with all objectives and missions revolving around the formatting and variable places of the level.

Final result of the Maya chair mini-project, displaying the use of multiple in-app tools that allow the altering of the appearance of certain objects to apply variable results.

Tools used:

Multi-cut (indicated by the scalpel icon).

Bezel.

Extrude.

Modification of colour, within modelling toolkit.

The chair's a bit lopsided, but its still a chair.

The process is as follows:

Starting off with a "plane" shape (resizing the cube shape by its dimensions to a flat version).

Utilising the "multi-cut" tool (highlighted by the icon of a scalpel), plan out the 4 lines that will make up both the smaller inner square and outer edges (your corners for the chair legs, and the remaining rectangles).

When you have 4 corners on that plan, selected all the corners using the control key and left click; after, select the "modelling toolkit" and then the "extrude" tool. This will allow the corners to become chair legs, by resizing the individual corners.

Furthermore, the same process is applied for the backrest of the chair; the "extrude" tool can be use to make both of the stands.

Utilising the "multi-cut" tool, make 4 cuts into the stands; making them each in some sort of uniformity to each other, and repeating the extruding process with the result hopefully being horizontal.

An addition to the chair could be the use of the "bezel" tool, to apply 3d scaled depth to an object or shape. This process is shown here used on the base of the chair, it applies a certain amount of depth and height to the object. Alongside that, the tool itself is very expansive and the dimensions of the bezel input can be modified for your preferred result.

As you can see here, this project could vary; it is variable.

The Graphics Interchange Format, otherwise known as simply "the GIF" is a bitmap image format that was developed by American computer systems company Compuserve (the first large-scale computer company in the world, formed in 1969).

The image format itself only allows up to 8 bits per pixel for one image, allowing the image contained to utilised up to 256 allocated colours used within the 24-bit RGB colour scale. The "moving" image supports animation, alongside the use of 256 different variable colours.

The GIF itself was created on the 15th of June of 1987, whereas the latest update of it was launched circa 1989; for it being 34 years old, it is still a majorly popular modem for sharing short couple-second animation pictures.

Although in rare cases, true colour is almost never used with GIFs...but that isn't to say that it isn't completely impossible. The GIF89a specification indicated that there could be use the of one "transparent" colour within an image, and in segments of an image.

In the example above, it showcases that a GIF is fully capable of exceeding the 256-colour limit.

(Above) Inspiration for a Soviet-style gas mask design in my game, made futuristic which gives it a uniqueness.

(Above) Inspiration for an in-game weapon, which could be use for an array of things.

(Above) Another weapon inspiration, same as the one prior with exception of different manufacturing country. One prior has a 11 in a circle (produced in Izhevsk Machine Plant), and this one features a 10 in a circle (produced by Arsenal Weapons Manufacturing, Kazanluk, Bulgaria).

(Above) WW1/WW2 Royal Bulgarian Army Dagger, could be used as a collectable in game. Really nice detailing, especially with its patina effect. Inscriptions of the Coat of Arms and "God is with Us" on the blade.

Don Bluth is regarded as the sole person who started Disney's evolution of modern-film production. His characters are approached as pinnacles in the film industry and the level of detail in every little step in works is what makes his works all the more rewarding.

A nod to Don Bluth's 1983 film, or shall I say art, brings upon the person a sense of the retro-futurist:

Depictions of the 80's expectations of the space-age, stuff beyond this planet...made into an approachable medium.

His artworks, if looked at in a industrial level, appear much more complex than what is displayed on your television or movie screen. The stages of production are so far fetched that very few designs actually make it onto the means of post-production.

A feature quite commonly used in game design, that is also use in the film industry for character designing and implementation, is the method of tile-mapping; showing movement of a character on paper form in terms of prototyping, to make sure that the character maintains the same movement throughout.

Another example of Don's magic, conceptualisation:

Versus what viewers will pay to go watch,

In anything that involves the appearance of characters, they must be prepared in a format that best suits both creativity and sensibility.

Having something out of place in a character makes a game look shabby, but in the rare case where it is intentional it could hint to a more forward and creative thinking of design.

Conclusively, Don Bluth had a major impact upon Disney's development of media; and thus created a base upon which newer releases are build from.

Sonic is one, if not the one and only title of SEGAs that is so well recognised till today. Due to its character design, of which being a blue hedgehog, it has climbed to worldwide notoriety.

Focusing on its movement, you start to see some sort of similarity in design to Mario; but it strays a little further...game development peaked in the 1990's.

It more so featured more detailed versions of artwork, sprites were much better detailed and movement was taken to be a more serious aspect in gameplay:

Sonic's movements enact themselves upon his climate, he has a more concentrated motion than Mario's; being able to commit to higher jumps due to an ability in game.

Movement is much faster-paced, enabling for a more thrilling experience to gameplay.

Obstacles are much more affecting on the player, because of the games pace and the characters movement. Constantly-moving chunks of the level make it more and more challenging to overcome.

Seen in the video, there is a noticeable differing in the maps layout and its design. More detail was the norm if your game wanted to climb the rungs in the 1990's, video games were becoming more popular and to keep up with demand the game had to look enticing.

Everything down to the water, and even the cliff-edges were made to look realistic; but not ultra-realistic, in the sense that it was still a SEGA Genesis game after all.

I find this art style to be very inspiring, in making additions to my game to make them more risky and thus more rewarding. I think having this kind of impact in my game will allow for a more through playthrough so that the player can experience the subtle background details in the game.

Back to the movement side of things briefly, and with relevancy, the use of springs is something that has been brought up in my game development process.

Super Mario Brothers in undoubtedly an icon...both in the video game world and generic pop culture.

This could be down to its absolutely awesome and very distinctive level designs...but we all truly know its because of Mario.

Movement wise...very basic...but very complex? In short, there are a lot of different motions Mario can actually put himself in. One that could potentially spark an idea would be the use of pipes in the game, the way Mario can simply slide into them and it reveals a whole different world that was just sitting right under his feet. This feature, although simplistic, is a very nice addition to the game and allows for a little bit of exclusivity whilst trying to get to the ending objective.

Another bone to pick at with the game is its change in movement within its change-in-appearance, what I mean is that as Mario becomes almost superhuman he is subject to change in jumping and just general movement; a good example being the amount of distance Mario can jump.

In a aesthetics-wise approach, the game is just so damn retro.

Its use of 8-bit styling, makes it looks clean but gritty.

The iconic likeness of Mario, and his companion Luigi are easily recognisable based partly off their simple design.

In a historical sense, the game came out in the 1985; that makes it part of the (opinionated) best time period in history.

Colour palette is golden, seems so rustic but works in a calming way.

Finally, I would like to add that this is by far the most influential game for game design...it was the make-or-break and the pinnacle of classic NES-style side-scrollers.

Celeste is a game focused around its movement around the map, and its objective; to climb a mountain appropriately named "Celeste Mountain".

A very prominent feature of Celeste, in its game play aspect, is its double jumping capability:

Within the game, there are points where the character get boosted in a way; enabling the double jump action to be performed to gain height.

Double jumping helps getting over higher obstacles easier, such as those of enemies; or achieving height to get to higher parts of the map.

Its relevancy to my game is that it shares that motion, and it is very impactful to the world of side-scroller development.

Overall aesthetics of the game are on par with higher-scaled indie games, with a nicely detailed but pleasing subtlety about it. Going into more specifics into the palette used show that it has possible inspiration from 80's art culture, notably the vaporwave and 8-bit art styles.

In my personal opinion, I love this colourway; really really reminiscent of older games; and the fact that this was released on the PICO-8 (in itself a tribute to older consoles in a virtual format) makes it all the better.

The game itself features a mirage of obstacles, to enhance the idea of the character's inner feelings (within the lore of the character, there are epitomes of anxiety and depression which are reflected within the game).

Conclusively, it is a well-structured game...there is nothing more to say. However, for the gameplay aspect to be fully understood you will have to have some sort of conscience for what the hidden meanings are.

Pixel Joint shares most of its common attributes with LOSPEC, whereas users upload their own artwork; or even participate in challenges.

It harbours very many different styles of pixel artwork, which could possibly influence the creation of different side-scroller game sprite designs.

The website itself is, and what I find is, a very useful resource for inspiration into pixel art; personally, there is just about every topic covered (in terms of designs, characters...you name it they have it). Although they have varying art, they also have varying colour palettes; which hold some significant importance in a game.

Games cannot function well, whether it be maps or characters, without a solid palette to work off of (this could be done to fit a certain type of scenery, or could be to give off a specified atmosphere).

An example of artwork that inspires me the most for my game, which is set in a continuation of an expanded Soviet Union, is one of "Burning Sunrise" by Raynoa.

Below is it pictured:

I think this adds up well with Soviet retro-futurism, the idea that the Soviet Union (if age-progressed) could produce and utilise space-age equipment - This was specifically depicted in imagery, like those of spaceships or vivid buildings in early propaganda posters to show socialist progress.

Conclusively, this artwork could enable me to specifically focalise on detail; making use of shading and giving my game a certain...what's the word?...vibe I guess.

LOSPEC is a website where people can upload various types of artwork, more notably pixel art.

This website is a great source of inspiration because of its categorisation of pixel art, into any category or any palette.

One piece of art I was interested in, because of its colour palette, was one of the "LOSPEC Dailies" posts in their gallery: namely "LOSPEC Dailies - Bed - SunsetMK3" by HOUZMAN

The art stated:

The colour palettes vary on LOSPEC, and in this case are very reminiscent of vaporwave and "Miami-vice" palettes.

I think this style could potentially be a good match for my game, not just in its palette but in its design.