Difference between game design and game development

Game development, in fact, is the process of working on a game, its creation. Therefore, all those who do this work and are in the team can in principle be called developers. Nevertheless, in the gamemode environment the concept of “developer” to a greater extent refers only to programmers.

Who’s a story designer and why is his job a distinct profession?

So as to answer this question, let us first understand what elements make up a match and which experts are involved in its production.

Any game consists of four internal spheres:

1. Mechanics, or “what to play?”

This is, in actuality, what the game designer layouts and describes. Game mechanics is the term for the English “element of gameplay. Essentially, game mechanics will be the performance of the sport; they also determine the principles where the gameplay proceeds. By way of instance, the ability to fight opponents and win conflicts is a mechanic. Being able to invite a friend to the game and play them is a mechanic. Even dragging and dropping an item in the port can also be a mechanic.

Specialists: Game Designer, Levelling Designer.

2. Technology, or “how to play?”

Technology is something the player won’t ever see. It is, in actuality, the instrument with which your match is made. It is the game engine, it is the server, it has the utilities to deal with the game’s content, it is the lines of code – it is what attracts the rest of the elements of the game together and makes them function.

Specialists: game architecture programmer, UI programmer, server programmer, additional tools programmer.

3. Aesthetics, or “what does play look like?”

Broadly , aesthetics is the discipline that studies the expressive forms of the world around us. Within this context, aesthetics are those elements of the game which are liable for the participant’s sensory perception. Including what we see in the game: (screensavers, icons, character images ), how they move (effects, animations, cutscenes), and the way they seem (soundtracks, sounds for game activities, interfaces).

Specialists: concept artist, 2D artist, 3D artist, animator, interface artist, sound designer.

4. The story, or “what is this game about?”

This is the story of the game, or its setting. The setting is the time, place, and circumstances in which your game unfolds. Simply put, it’s the world in which the events take place.

“A medieval world with magic and several very different races” is the setting.

“The Moscow Underground, a city underground for a handful of atomic war survivors” is the setting.

“A fantasy world of the distant future in which large corporations fight for valuable planets and spheres of influence” is the setting.

The plot is your story itself, which develops within the framework of your chosen setting, pouring out into a sequence of events.

Specialists: screenwriter, narrative designer.

It is also impossible not to mention the two external spheres of game development.

These regions are known as external because they sort of function the game. Ideally, nobody can do without them, particularly without testing it’s tough to imagine development. But I also put it in the outside areas because at some stage testing ends and this place disappears directly from growth, and there always stay internal locations, which, along with everything else, have their own”representation” in the sport, examples I listed above.

  1. Testing, or “is my game working properly?”

Testing allows you to check that everything works exactly as it should.

Specialist: tester.

  1. Marketing, or “how do I sell my game?”

This includes all the work to promote the game, attract potential players and strategies to keep them interested in the game. This also includes pricing and determining the market for the final product.

Specialists: marketer, analyst.

The Narrative Designer’s Place in the Design Process

As I mentioned previously, the narrative designer together with the screenwriter work on the game’s plot and narrative.

The screenwriter is often an outsourced writer who writes the art text of the story for the game, develops the characters, events, the relationship between them, and comes up with interesting twists and turns in the story. As a rule, his work on the project ends with the completion of the script.

The Narrative Designer is the link between the text scenario and the gameplay. The narrative designer makes the game’s story interactive. Working closely with game designers, artists, and sound designers, the narrative designer makes sure that the game’s story, in its most artistic sense, is communicated as accurately as possible to the player. He participates in the design of the mechanics, the implementation of the game interface, and the artistic aspects of development.

The most essential thing we all love in a game’s narrative is its thickness and embeddedness from the gameplay. The story doesn’t end with text descriptions and dialogues, additionally, the narrative in matches is advised in a very different way. The endeavor of this storyline designer is to earn the player feel from the sport. The endeavor of this narrative designer would be to braid the narrative and gameplay of sport conventions, like ports, timersand progress bars. The endeavor of this storyline designer would be to do his best to maintain the interests of this narrative throughout development, so it is treated with appropriate reverence and isn’t relegated into the background or coated by sport conventions.

To Explain this specialist’s Field of Experience, here are some examples of good Storyline Style:

A portrait of a personality in Doom who becomes battered, taking losing and damage health. This technique permits the participant to connect himself with the personality and get a sense of his present state in the match.

The moment in The Witcher when Geralt has to get flowers for Shani, the bouquet appears in his hand as an item, not in his inventory. This makes the moment special, and a bouquet that comes out of his backpack as an icon would look less convincing.

At the start of The Witcher’s passing, we speak with a scholar who’s writing a book about contemporary history. Geralt warns him, stating that in wartime – those lands are no place for people who are not prepared to fight.

Afterwards, a book signed with this historian’s title, unfinished, can be seen beneath the hanging tree. Such nuances make the world come alive, along with the participant realizes that each, even passable NPC has a life beyond the game screen.

In Brothers – A Tale Of Two Sons we play as two brothers, who find themselves in a huge unfamiliar world, and they have a complicated and unpredictable way ahead of them. They are a family, and the developers wanted to show the maximum solidarity of the heroes. This was achieved through the control: the player controls both brothers simultaneously, using two joystick sticks, and they solve all the game tasks together.

In L.A. Noire, the narrative design is luxurious, from the atmospheric radio stations and the lively city, which creates the full feeling of being in the real world, to the way the detective work is implemented: during the interrogation, you have to read from your emotions whether your interlocutor is lying or not.

In L.A. Noire, the questlog interface is implemented in the form of a notebook. The interface tabs are made in the form of pages, which flip through the hand of the protagonist.

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