Maxim Samoylenko (dspair) wrote,
Maxim Samoylenko

ух какую вкуснятину нашел

есть такой гейм-дизайнер и блогер Джастин Кеверне, который ведет свой отдельный сайт-блог, гду пишет о механиках левел-дизайна и поднимает разные интересные геймдизайнерские темы

Например, в последнем своем посте Джастин - бальзам на душу! - доходчиво объясняет, почему люди, считающие синглплеерные игры "устаревшими", начисто лишены мозгов в голове:

...There are ways of evoking an emotional response through the arrangement of space, techniques that have been used by architects and artists for hundreds of years. Mechanics on their own might struggle to convey emotional meaning but when combined into dynamic systems they can provoke a variety of aesthetic responses in the player.

If I am correct then this is not an easy course to chart, for it means that single-player games are in fact an entirely new medium as distinct from multi-player games as film is from theatre. Though some single-player games might share a lot in common with their multi-player counterparts such games will be, in the fullness of time seen as being on par with those early films were a camera was simple pointed as a stage during a theatre production.

он также ведет рубрику groping the map, в которой на примере классических синглплеерных игр по кирпичикам разбирает те или иные уровни и размышляет о механике левел-дизайна. Удивительное дело, но первые три записи в этой рубрике посвящены bioshock 2, deus ex и thief 2 как образцовым играм в этой области:

Structurally this use of real world locations leads to a common style of level design through many of the locations of Deus Ex. Designed around a specific location and the immediate area surrounding them, levels are built with a layered onion structure. The primary objective is to gain access to the main location, usually a building or compound at the centre (Metaphorically if not physically) of the level. The goal is to peel away each layer of security until this centre is reached, it is here that the main objectives lie. Liberty Island follows this layout the first goal, to gain access to the statue itself, is achieved after exploration of the outer layers of the island. This is also the same base layout of many of the later levels, the NSF Airfield and Brooklyn Naval Base being two good examples.


Aesthetically there is a distinct ‘Film Noir’ vibe to The Drop, diners, jazz clubs and private detectives, this is the seedy underbelly of Rapture and everything from the makeshift nature of the environments to the vaulting utilitarian architecture reinforces that. Bathed in sea green it feels like the entire ocean above is weighting down on The Drop, the only elements of humanity picked out with sharp contrast by neon reds, and fiery oranges.


The differences in aesthetics and structure between Angelwatch and the rest of Dayport highlight the contrast between the traditions of the City and the future as envisioned by Karras. Until now the threat posed by the Mechanists has been an abstract one, they were supporting the Sheriff and his attempts to crackdown on the City’s “unlawful”, and their security devices were appearing everywhere, but they themselves had been able to avoid public scrutiny. The Mechanists were a threat in so far as they were making life difficult for Garrett, however with Truart dead the true nature of their schemes is starting to come to light, their impact on the City undeniable. Until his arrival at Angelwatch Garrett is the master of his domain, the Thieves’ Highway is where he’s most comfortable, most powerful. The initial sight of Angelwatch towering over the surrounding buildings is the first sign that things are changing and that Garrett’s reign is under threat.

как видно, не все толковые люди в индустрии поглощены социалочками
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