Showing posts with label age. Show all posts
Showing posts with label age. Show all posts

Tuesday, February 25, 2014

A case for game-design mentality in modding

If you don't have a clue what "modding" is and still want to read this:
http://en.wikipedia.org/wiki/Mod_(video_gaming)
Mount&Blade and M&B:Warband are sandbox computer RPGs set in a pseudo-medieval world.
http://www.taleworlds.com/
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Note: this post is inspired by the discussion about the differences between two LOTR mods. 
The Veiled Stars is a relatively new project in progress headed by Jarvisimo:
http://www.moddb.com/mods/the-veiled-stars

The Last Days of the Third Age is a mod originally for the older M&B, now also ported for Warband. I've been a member on the TLD team for quite a few years now, contributing everything from concept art and lore knowledge to writing and sound design.
http://www.moddb.com/mods/the-last-days

Understandably, there's a certain level of animosity between fans of these mods, as LOTR total conversions are hard to find and discussions online usually get quite heated. This is not meant to pour oil into the flames, rather I'm using the situation as a setup for an article I've been meaning to write for a while.

PS: Guys, remember your forums are public and anyone can stumble upon your bitter put-down posts about TLD. I understand where you're coming from, but it's still a bit rude. When we talk shit about you, we at least have the sense to do it in our hidden dev forum. ;P
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The background of The Last Days

TLD is actually three different mods. There are layers in both assets (visual/sound/writing..) and scripted gameplay features. This could be quite the history lesson, so I'll summarize in short:
1.) The good old TLD from when our leader Ancientwanker was still around. (2007-2009) For M&B 0.808, the mod became a real total conversion and not just the basic game with a few models swapped for orcs and Gondorian soldiers. (which is what it all began as, in the ancient beta days) 
AW (Ancientwanker) had big plans for a whole system of quests, for the War of the Ring and other features we sadly never learnt about. (due to him disappearing without a trace, it's quite likely he passed away) This layer survives in some of the assets (bits of orc equipment, lots of Harad's design, Rhun's entire style laced with Conan the Barbarian etc.) and in some features (the "Sorcerer of Mirkwood" quest is a remnant of a stealth system coded by Yoshiboy, which we sadly dropped in rest of the mod), but more importantly - in the idea of a design plan. Only when AW was gone, I realized we had little idea where to go from there. Or rather, everyone had their own ideas and no clue what AW's TLD was supposed to be as a whole. 



Here's an interesting video for comparison, someone playing the 0.808 version in 2011. :)

2.) TLD up to version 3.0 released for M&B 1.011. (2009-2011) This was the silver age. We mourned the loss of our glorious leader, wondered what his vision was and tried to reach it by running blindly into several directions. We had absolutely wonderful people on the team and what the mod is today stands on what they've done then. The war system, the quest writing, the companions, all the visuals and settlement scenes, all the custom sound work, animations and even entire pieces of development software created to make TLD. 
Lots of talented people also meant lots of arguing and design disputes. I like to believe it was necessary to distill TLD into greatness, but it wasn't always pleasant. Still, we agreed on the large concept, TLD was supposed to be a total conversion with emphasis on player immersion and focus on the War of the Ring, with occasional emergent lore-friendly roleplaying and exploration.
Mostly due to burnout, frustration caused by engine limitation and personal conflicts, the team fell apart after patching up the initial release. This is the TLD we've had and played for a few years.

3.) TLD up till now. Only a few people remain of the original team, active here and there when they feel like it. We've gotten a new programmer who's done great work in balancing the mod and adding a few new features (CppCoder). It's been mostly me posing as the voice of TLD for some time now, and I've been the annoying bugger who can't quite let go of this thing. Pushing and pulling everyone I could muster into working on the mod at least a bit. A few graphics assets have been redone, big plans were had in regards to finishing incomplete quests etc.
Then Swyter (of Star Wars: Conquest fame) decided to port the mod to Warband. I happily stayed out of his way and helped wherever my limited skills allowed it.

Keeping your core tight

I think the two major reasons why TLD is popular with players are:
1.) It's a LOTR mod. Hands down, this is the reason why people download it. There's a great hunger for LOTR inspired games, probably because there are so few actually good ones. Mods help fill this niche.
2.) It's designed like a game, (one that plays different enough to M&B itself) with a clear focus on a specific type of gameplay and player experience.
TLD's focus on the War originated in the very first of the three ages (Three ages of The Last Days of the Third Age...get it? ;-P). The native game at the time didn't have a real war system, you couldn't win. All you could do was fight the never ending line of respawning enemy parties. To have sides in the war with the possibility of losing/winning the war by defeating enemies who can actually die was a new concept, so we built on it a lot in the future.
M&B later expanded on the sandbox element of the game, with owning villages and having obligations as a vassal of a lord etc. 

During the silver age, we discussed this and decided to keep everything like marriage and fief management out. As we say in the Manual, the mod is set during the War of the Ring and to settle down with a wife, to manage building of a church and fences and whatnot, it just doesn't make sense. 
Content and features making sense in the setting is key, when introducing new stuff we always asked if it's based on anything in Tolkien's books. If not, does it seem like something that would plausibly happen in Middle Earth? The resource/rank/influence points system replacing native dinar currency is a result of this process. Not many characters in the books actually ever talk about money and if they do, it's presented as a negative thing. When military tactics are discussed, nobody asks about costs and supplies. They know the stakes, it's all or nothing. 
So you're not being paid money, you don't "buy" items. Instead you're supplied by your faction, you requisition items from the armoury based on how much your faction appreciates you. Many heated discussions were had, some of our coders still disagree with the decision, but the system seems to get about an equal amount of positive and negative opinions from players, so I take it as a matter of taste and not a gamebreaking annoyance. 

Last Level Press - a review and a great analysis of TLD 

Setting is king, especially if you're doing LOTR. There are so many Tolkien nerds who will understand easter eggs, tiny references and nods. Who will spot the tiniest of inaccuracies. So we agreed to change as much writing to be setting appropriate as possible, we've added little touches like an ingame elven calendar, or messages telling you which microregion of Middle Earth you're entering. Which brings me to another aspect we tried to keep tight - the map. Comments about our map being too small amuse me. We still get questions if Eriador and other western areas will become available later. Nope, they won't. We actually downsized the map during development, because it felt too empty and we couldn't populate it with more moving entities for performance reasons. Besides "being able to go there", there wasn't any benefit in mapping the entirety of Middle Earth.

If The Veiled Stars map ends up a lot bigger (which previews indicate), I have to wonder - what are they going to fill it with? Unlike TLD, TVS keeps the town+villages model of Warband, so that's content we couldn't use. Will it be fun content? Enjoy making a bajillion custom scenes! Ask Triglav how fun it was making all our scenes by himself and how long it took. And thinking of ways to fill the map with fun and interesting content is important for TVS, as it's (so far) presented as a sandboxy roleplaying experience, not a wargame with a bit of exploration/roleplaying.

In conclusion - nobody's saying you need to read books on game design and write down pages and pages of design docs. Just sit down and write a page or two. Start with one or two sentences, summarizing what the mod's about and why anyone who's played hundreds of other mods should play it. Don't list features, write down what kind of an experience you want it to be.
When you have the essence, set limits of what's currently possible and add a pile of features you'd like to have. Then prune the pile and throw out the most difficult or labour intensive features. (or keep them for later) The pile will only grow taller in development, so being honest to yourself about what you're capable of is definitely an advantage.

When mods pretend to be games

Total conversions are extremely difficult to make and there are good reasons why most of them inevitably fail to deliver a playable version. There's a very quick turnover of people contributing, one has to be prepared to lose members all the time, due to a host of reasons. They come in wishing to help and leave a week to a few months later.
With a mod like TLD or TVS, you're building a library of assets (graphics, sounds, music, animations) and an underlying set of systems that make the game work. (programming) TLD started with AW doing the coding and contributors working on assets at the same time - this is a pretty great way to do things. You're not wasting time and you have something that works as a game and already looks like one too.
This is not the case with most mods though, many beginners start by learning 3D and making assets. They model a few items, put them in game and call it a mod. This kind of item swap is still useful, because pretty screenshots might lead supporters and contributors to you, even if the gameplay is just the same as the native game.

Pretty visuals are often the first goal of a mod. It's not wrong, we definitely wanted TLD to be as pretty as it possibly could. It's equally important to create graphics assets with optimization in mind. Especially if you're not making a game where you can adjust how the engine handles assets, keeping stuff tidy, clean and lean is essential. Often it's a performance-driven choice between a handful of beautiful items and a variety of lower resolution ones. It's about the time it takes to create them and also the final combined effect they have in game. TLD (while being made by many contributors) tried to keep a unified style to the graphics. The models are low poly, the textures are small and we don't use normal maps. I still maintain that they look good, even nicer now, in Warband's superior rendering engine.
I suppose there are different kinds of modders and different kinds of players. We aimed for player immersion and a powerful roleplaying experience. On the other hand, mods for Skyrim adding incredibly pretty items are very popular. Some players simply want to admire their own character, take pretty screenshots and dick around in the sandbox.

The Veiled Stars: Gorgeous Isengard

Eventually, you want to release something people could play. All too often, mods with ambitious plans try to embrace the development model of actual games. They publish previews, go into alpha and beta releases and keep patching after the actual release. TLD did this as well, but we've been always quite good at keeping development details to ourselves until it was time to release.
With TLD being open source since last year, I expected TVS to use our graphics assets at first while building their own code systems and implementing various features. And replacing them with their nicer Warband-specific assets in the process. This is after all how game development usually goes - you build a prototype first and start expanding and polishing it later.

If Jarvisimo isn't too mad at me at this point, I'd offer this as a suggestion. Spend more time planning, designing systems and coding, leave assets for later or have someone else make them. Since you're already releasing alpha versions, you'd benefit from having something fun to play, something different and new and interesting. Warband in a different map with a bunch of pretty models won't hold interest for long.
That said, player responses and feedback are a difficult aspect of modding. I'm infamous for being a horrible prick to everyone on our forums. Answering the same ignorant questions over and over and dealing with lazy anonymous internet entities can be very tiresome, so beware! If you can, get a PR person to do it for you. Your mental health will thank you years from now.

Almost the end

We're fully aware that Swyter's port of TLD put Jarvi and TVS into a difficult position, I've actually read your disappointed post on your forums. Still, us talking about it is not just empty words. There truly is no reason why there should be space for only one LOTR mod for Warband, or why we should measure their worth by pretty graphics or size of the map. If you have a vision, if you design with that vision in mind and if you keep hammering at it, it'll end up as something  you and others will want to play. That (not praise or ratings), to me, is the ultimate goal of modding.

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I've been meaning to write about the history of TLD for a while, a bit of a post mortem. What it was like with AW, after he left, to spill a bit of the behind the scenes gossip and so on. If there's any interest in that, I'll do it. Or I could record another podcast. We'll see if any fans read this far. ;)

Monday, December 17, 2012

Painting a plate

No, I have not become a potter. As the Kickstarter for Guide to Glorantha races towards its end, it keeps raking the money onto a rather huge pile.

Great!

You can check it here:

http://www.kickstarter.com/projects/224590870/the-guide-to-glorantha

I have been painting full page colour plates for it, very much in the style of Angus McBride's plates for the Osprey books.

Each plate depicts a culture-specific event, cultures being represented by four or five characters doing whatever they do and showing off their clothing, jewelry and tattoos.

Jeff Richard and I agreed it'd be good to show how one of these is made, step by step.

Plate n. 4 - Ralios

It all starts with Jeff sending me a brief in PDF. Like this one:

http://pospabr.sweb.cz/BriefPlate04.pdf

I spent one whole afternoon reading these briefs, googling images and going through my image library, looking for reference for each plate.

Examples of such reference may look like this:

I should note that I don't use these images directly, they're not traced, they're not "Photoshopped" into the painting. I simply want to be sure about how this kind of stuff looks so that I can paint it looking plausibly.
This set of reference is for the barbarian bodyguard of course.

After gathering reference I attempt to sketch a composition of the piece. It's important to decide where characters stand, kneel or do whatever they're supposed to be doing. The have to be placed to make sense in the "story" and also to be well visible. That can sometimes be a problem, but here it was quite simple. A tight group of conspirators standing in a dark alley! Very easy.


I draw and paint directly in a program called ArtRage. It produces a nice traditional look and it feels like using real paint too. (ie it's a struggle all the way through :D)
I actually drew this in two layers - one for the architecture (to keep it in perspective) and one for the characters. So if I needed to erase bits of the characters, I could do so without damaging the scene itself.

You can see I've done a bit of the character design in the sketch already. This plate didn't see many changes from sketch to paint, which is a bit unusual for me.



The scene as described in the brief sounds very dark. Dark alley, in the night, no street lights...I was a bit worried about that. I have to get light in there somehow! I suggested we give the sorcerer some kind of magical lantern and it was okayed by Jeff. I quite liked the idea of a night scene with a purplish tint to the dark city (which is pretty common in big modern cities due to air pollution. Not sure how that happened here, but hey. Artistic license, right? ;)) with a contrasting green light illuminating the characters.

You may notice the vertical and upper facing bits of buildings are coloured more towards cold grays, being "lit" by the sky, while the down facing bits are more purply. This would happen on a bright day more likely, where sunlight is bouncing off the ground upwards onto horizontal surfaces. So it's not very realistic to do this at night, but it serves as a nice compositional tool, to get some of the warm colours into shadows. That balances the use of warm hues through the image somewhat.
The bodyguard's face is also the first one I painted. I tend to start with getting faces "right", because they're the most difficult and fun to do.


I did some work on the right side of the painting and noticed the bouncing light issue. I opted for a slightly more realistic depiction and darkened the shadowed area considerably. A lot of work has been put into the stones of the building and the barbarian's costume is mostly done.


I finished the barbarian by detailing the sword, armour and adding runes to his face and arms. I decided the background could use some work, so I painted the buildings in the back. I've done some work on the noblewoman, but almost exclusively her upper half. Somehow the lower bits weren't so appealing to me in this image. I also started on the sorcerer and it was really fun and easy for some reason. The green light was a joy to use too.


This part was a mix of fun - painting the face of the priestess and less fun - painting the lower halves of the sorcerer and the noblewoman. Lots of ornaments everywhere. I also realized the lighting wasn't quite right on the left wall, so I added cast shadows and half shadows, which framed the figures better.

The last step was to paint the priestess, her frilly skirt, tattooed legs and tighten everything else that needed fixing or detailing. I decided to add ornaments to the stonework to the right, including the Harmony rune inside an Earth rune. I thought those two would be a good choice for masons wishing for their building to last. (that wasn't in the brief, just my own initiative after learning the runes by heart :D)



That's it!

My biggest fear:  The architecture. I'm not very confident about buildings, but it ended up being surprisingly alright. Darkness did help for sure though.
My favourite bits: The whole barbarian bodyguard was my favourite from the moment I got the brief. His pipe, his scratched and notched sword, the lamellar vest and (my invention for no reason) the detachable sleeve of his tunic. I also quite enjoyed designing the tall headgear of the high priestess and the mitre helmet of the sorcerer. That one especially! I really enjoy how it shows his painted forehead and how it's using his own hair to attach itself to the head. (look closely, there's a knot of dreadlocks at the top, going through the tiara)

Now what are those heavily embroidered flappy flaps going through the ring belt on the noblewoman? No idea. :) Any suggestions?

Thanks a lot for reading! I hope you'll enjoy the plates when they're all printed in the Guide. I know I will spend a lot of time gazing at them lovingly. ;P

Friday, April 20, 2012

3 points on pauldrons in fantasy illustration

I'm sorry about the unimaginative title!

My armour posts seem to be among the most popular ones and I just got an idea for another one today.

Pauldrons are difficult, I won't lie. Armour in general is very hard to understand and to draw. And an illustrator usually needs to come up with acceptable yet innovative designs on a regular basis.

I won't even talk about massive Warhammer marine/Warcraft pauldrons, or pauldrons with giant spikes, those are a bit obvious and I'll leave them for an even less inspired post in the future.

There are three things I want to address. Let's look at the amazing drawing I put together five minutes ago:


(click to enlarge if you wish)

1) Single pauldrons held by body straps

This is all for the sake of coolness and asymetrical design. Single pieces of pair equipment probably were used here and there, but more because of the lack of the other piece rather than any deliberate purpose. It's also much easier to strap and set up a pair of pauldrons. As we've no doubt seen many times, these pauldrons are magically held on the body by (often really crazy) webs of straps and belts. Often they'd make it very difficult for the person to move.

Everytime I see this, I have to question the sanity of people who'd choose to wear only pauldrons and no other armour, for whatever reason. Is it ideology or bravery like with the berserks? Well then a pauldron is just as armour as any other piece.
Is he supposed to be a "light" build? Some kind of a rogue? Why on earth a pauldron then? It's not like the shoulder is the first place anyone would attack, or a bodypart one needs to protect above all others. I'd wear a cuirass, or a padded jack in that case.

To me this is the equivalent of a chainmail bikini - a dinosaur of fantasy illustration we should forget.

2) Pauldrons on hinges

I wonder who came up with the idea. Some unfortunately placed rivets on an original armour might have deceived him. Or maybe he just thought this was how it worked.

Pauldrons are not riveted to the cuirass. No.

Still, fantasy armours repeat this design over and over.
You even see it in movies (and boy oh boy, does it show how uncomfortable and awkward it is!)
 - I'm looking at you, Dungeon Siege!


also games like Dragon Age:


And man, does it NOT work when you make it into a costume!


(that poor actor had to pretend he could lift his arms comfortably)

So how were these things attached to the person? They were usually tied onto the cuirass/gorget/padded jack at the shoulder/neck. No, it doesn't flop around wildly, you can always put a strap going under the arm to hold it in place.
Putting the weight on the shoulder is a good for mass distribution and it doesn't get in the way of any movement.



3) Pauldrons wide enough to make you stuck in the door

Pauldrons are not just any massive bowls you stick on your shoulders. There are many different types and shapes, all very specifically shaped to fit the body very tightly and closely. You want to be a small target, not a huge one. You don't want it to change your balance.

I get it, wide shoulders make the silhouette seem powerful. I beg you, do it with the actual shoulders and then put pauldrons on those, don't put massively wide protruding pauldrons on narrow shoulders.

Illustrations like that remind me of American "football" players stuck in that harness of theirs. They have padded shoulders, because they want to tackle people.



There's no shortage of large "shoulder pads" in historical armours, but they're designed in a way that makes them cover a large area while remaining fairly close fitting:


I've posted mainly medieval plate armour as examples of how it "should" look. For a good reason - most fantasy is still based on our limited view and understanding of medieval Europe. Sure, it's changing, we're adding Asian and other influences. But the majority of knights, paladins and other armoured characters still wear "knight armor".

We could speak about more "primitive" shapes and designs like the tube-and-yoke armour, or the lorica segmentata. But we won't, not today. :)



I'd like to stress this is not a hate post, meant to tell all illustrators how dumb they are. Far from it!
The portrayal of fantasy armour IS getting better and better all the time.

These are just my personal pet peeves with pauldrons, that's all. Now you know how to do it LESS WRONG! ;P

A BONUS POINT! - Redundant besagues

Have you seen stuff like this before? I'm sure you have.


Those funny looking discs around the shoulders, or the armpits. Preferably painted on amazon warriors clad in mail bikini.

How? How do those make ANY sense at all? These things are called "besagues" and they're meant to protect the wearer from blows or blades slipping between the pauldrons and the cuirass - into the armpits where dem arteries are.

I only wish the artists hadn't forgotten to pain the cuirass and the pauldrons on in most cases.

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As always, if you have anything to say - SAY IT in the comments! :) I want to hear it.