There is a reason why we intended for the NPC, the people, to run away and flee when they saw them moving is because we intended for the characters to move the way it was intended to feel comedic yet grounded to a degree. Expecting a moving vending machine is out of the norm, which led to the fact that people have a natural reaction, confusion and panic, which allows them not to think straight. That thought process is something we intend to replicate in the game with the way we manipulate emotions and tries to give a deep implications on how manipulation of objects can really affect a person’s psychological state when given a form of “disdain” and discomfort. By applying basic reactionary elements to the NPC’s , it allows us to give a pattern which allows us to implement a form of strategy to how the characters move and it helps to bring the facet of life to the game in some structural form.
This allows players to experience the vending machine’s actions as you control them, allowing them to strategize and have the characters move the way you want to. You can stimulate a reaction from them which allows dynamic reactions between characters and allow them to move in a way that makes it workable in some way or fashion.
It alters the way people play the game because fear is an element which players can manipulate with the mechanics. And they can freely act within those limitations to play their hand and optimize game experience. For instance, when they are scared, they will run off a specific period of time. Using that to your advantage, you can, in a way, redirect their movement with timing and precision.
This is shown in order to ensure that players will have the opportunity to be nuts with the choices they make in the game, reflecting the chaotic but comedic nature of the game.
From my standpoint, the fundamental tools that are being used in photoshop are complex in terms of its use. Although basic tools such as the brush tool and the crop tool for the game. The issue that one of the classmates I assisted with is the lock tool, which is due to the animator’s concept of understanding is to ensure that the documents remain in that spot, which allows you to prevent yourself from accidentally making heavy changes to them. This allows flexibility in how one sees the document.
In terms of the file that was being used, I noticed that the files were structured relatively well, but when I saw that the structure of the object is difficult to distinguish, I would see that the issue is that the layer names are not accurate in describing the scene. The background image layout that had to be edited was scrambled, so it ended up being a bit of a mess. Although fortunately we managed to find the issue and resolve it.
I assisted with the basic fundamentals of hue and saturation change, which is easier than just paintbucket tool them. It allows you to recolor the layers to however you like, changing the hue sets up different colors and changing the saturation lets you change how saturated the colors you want them to be or reduce its saturation into a grey color. He made modifications based on the design, change the colors to his wishes and resize the text based on the criticisms I give on the card design model itself. I did not influence the design heavily, just give him the direction that he needs for the look of the cards to be better readable to other people and to change the style that reflects the nature of the card.
He made necessary changes on his own using the text edit tool and resize tool which allows him to change the size and font of the text suited to the game’s overall scene. Something that he hadn’t considered until I gave some recommendations to him.
Career – Addendum 2
I am not certain that the long goal intention of what I am going to will be an art director, but maybe as assistant to an art faction which allows me to learn new techniques I fail to upkeep.
As for the requirements of being an art director, presumably one must determine how to being a concept to visual life, lead a group of design staff and have a variety of skillsets in art (from Design to 3D modelling) such that I would be able to give feedback to them and help them push the way the project’s aesthetics could contribute to an overall scene in media. In addition, one must be able to communicate what you can do with the skills you have, give proper documentations and schedules and manage the timeline and budget required to think of how long one must do each task at specific intervals.
Art Directors directly take charge of a good majority of individual works from different art faculties that makes up a single project and takes considerations on how much one should do and how would one properly schedule to achieve these goals.
One instance of an art director that I can write off would be Stig Asmussen, whose work as an art director became known from the God of War series, of which now he is currently working on Respawn Entertainment as a game director of the series. He originally worked as a level artist on Gauntlet: Dark Legacy and Dr. Mudo working for Midway which led to his position as art director and eventually working as his position as game director.
For this, the main three skills of improvements that need to be made in the future would be 2D skill/Graphic Design refinement, 3D-fundamentals and scheduling+documentation knowledge.
The reasons why these are required for me is to ensure a strong foundation and work experience which allows me to climb up the chain ladder from lower position as an animator or concept artist to eventually the art director seat, which would possibly be a dream job at this point in time.
In addition, having to refine my 2D skills is required as I need to know fundamentals of dynamic pose design and overall refinement in personal craft as I have skillsets in the 2D and Graphics design aspect which I am still currently lacking. In addition, this particular skill set is something I have a fervent passion on improving to which I would take a good period of time learning through others through tutorials and the like, something I would like to work on more in future projects. I would also like to learn more and improve on graphics design as I would need software knowledge such as illustrator to show that I am competent at a many different software and be flexible in how I can work with. In fact, there is no end goal to this.
Art is an endless journey and you will never reach a peak point where you would stop. It is something that I would like to do on a more constant basis until the end of my days and improving these skills over the years will help me do just that.
3D is also an approach which I can take, but I do not intend on making it the pinnacle of what I intend to work on nor as something that I would be heavily working with, simply because there are professionals who knew the trade of animation and design in 3D far more than I could. However, studying the fundamentals of design in any art form is always important and especially in games, 3D is crucial on the current market because of its simplicity of animation as opposed to the old traditional hand-drawn methods. If I could showcase the design to a professional degree on a 3D scale, I could show the competency level and knowledge I can pour in order to assist artist who are experts on the 3D model design and make adjustments as necessary.
Scheduling and Documentation are the most fundamental aspects of what enables you to be a good director. To convey and communicate your ideas and ensure that you manage your time flexibly in order to make sure that the ideas are conveyed is a principle in any industry you will be working on. Improving these aspects will help me improve how I approach and communicate with others by leaps and bounds and helps me to provide a better way of approaching how I work and enable a balance between life, work and other matters. Something in which we all need to continuously work on.
Stig Asmussen (Person) – Giant Bomb. (2016). Giantbomb.com. Retrieved 6 May 2016, from http://www.giantbomb.com/stig-asmussen/3040-42647/