This post was written by the author from the experience of personal life and information gleaned from the sources described below, and does not pretend to be ideal “evenness, clarity, and authority”. In the event that you know what I’m talking about more than I do, and don’t agree, speak up in the comments, let’s talk about what.
[UPD]
P.S. Fortunately, knowledgeable people nevertheless burst into the post and presented an alternative point of view, with which it is quite difficult to disagree.
I once saw a piece of news on the main page that seemed like nothing, but on the other hand, I was surprised by the comments. And it would seem strange? Everyone is excited about the opportunity to learn how to develop games, just like little children! And I’m not really. Why? More about this below.
It all started about two weeks ago, when at the academy where I am currently studying there was a master class on the topic “How to learn to make games?» for those interested. Author and main person – Vitaly Khit. Don’t know who he is? Yeah I don’t know either lol. And still, even after questioning Google. But judging by the sketchy data from various interviews, they call him “an icon of domestic casual gaming”. In his own words – I have 16 years of experience as a game designer behind me, and about 20 mastered programming languages. Solid, in short. And yes, I will highlight all future quotes from Vitaly like this in italics, so that it is clear where are his words and where are his, which I pass off as my own. Shchyutk. I was a little late for the lecture, and to my surprise, out of about a hundred people I was almost the only teenager. The rest are already 25-30 years old and look like this, but it’s true, details. So, after the lecture, I left with mixed feelings. My world didn’t turn upside down, but I was once again convinced that “making games” is like hobby, and "make games" like profession – these are two big differences.
Actually, the whole point is described in this picture. A game designer, programmer and modeler CAN make a quality game. Gay designer and programmer OR modeler too. But the modeler and programmer, no matter how hard they try, will not come up with a sensible, finished product. So what is the task of an employee with the strange title of “game designer”?
Prefix "-designer" means not at all what usually comes to mind. Game designers do not come up with the appearance of monsters or weapons, do not draw locations, or indicate the position of red barrels on the map. Game designers come up with the very concept of the game: "What. In it. Necessary. Do.», but at the same time not at random, and taking into account the fact that the game should not only work, but also stay afloat, and the longer the better.
Here’s a real life situation. As fate would have it, I ended up in a VK conference for developers of a modification for Source. Moreover, the mod, from the outside, seemed very promising. When I got there I was stunned. There are 10 people sitting there. 10 MAN, CARL! THIS IS ALMOST DOUBLE MORE MANY SIMILAR TEAMS. Moreover, the only “dick from the mountain” was me – everyone around me was programmers, mappers, modelers, sculptors, animators. And everything is just “they can do it”. But not a single screenwriter and not a single game designer. "Chief" – modeler. A very cool modeler, but it doesn’t work well with everything else. Neither with the organization, nor with the thought of gameplay. As a result, in 2 months of sitting in the conference we did nothing. Vacuum. At the same time, according to the wishes of the “boss” we are going to do “something incredibly cool” with a bunch of “incredibly cool ideas”. Only at the same time, there is a complete overkill and confusion with ideas, and once, when discussing a pathological plot, the “head” said: “Well guys, in short, let’s make cards, and then something will come to mind, okay?». I think there is no need to explain the chances of a successful modification ever being released..
In fact, this is all the work, but it takes much more effort than it might seem at first glance. After all, how does an order for a game designer go?? The producer comes and says: “Man, here’s some money for you, give me an idea for a cool game.”. Here. Exactly "RODI". Moreover, imagine if the customer also sets some conditions, like: “Come up with me an idea for a cool game about a dog.”. That’s all, frames. You’re trapped by a dog. It’s a paradox, but in such “creative work” creativity is greatly reduced, and it’s not difficult to guess why. As I said Dimka Kungurov in the FarCry stream: “all the best ideas are not born on purpose while trying to create a game. An idea comes, often by accident, and then everything else begins to be built around it.» Don’t believe me? Take any iconic example from the gaming industry or cinema. "Back to the Future" was born when screenwriter Bob Gale dug up his father’s school album in the basement and learned that he was the class president. Remembering that at one time he himself did not communicate at all with the head boy in his class, Gale wondered whether he would have become friends with his father if he had been with him in his youth. That’s it. Accident! Same Dota – yes, the concept of team play as such was taken as a basis, and the concept of “team play” is already several thousand years old (as discussed two paragraphs below). But at the same time, taking this concept as a basis, the authors managed to create a whole new genre, although initially the legs grow from the same catching up.
As a child, were you in groups where you were all asked to come up with chants?? Agree, something didn’t always come to mind. Now imagine what you have only you and your experience, and you need to adhere to some clearly stated rules. Here are some of them:
1) Don’t try to come up with anything new. It really won’t work, don’t even try. Because in fact, everything has already been invented a long time ago, and not a long time ago, but a VERY long time ago. All those “innovations” that you see in games from year to year, the last 20 years, new gameplay features and so on are just cosmetics. At the same time, you need to be able to apply it to a well-taken “old”. The mechanics, on the other hand, change only partially, but in general remain the same. If anyone doesn’t understand, the general mechanics of the shooter are not a “talking character with a gun”. And not “the possibility of shooting in Macedonian style”. "Run and Shoot" – THIS IS THE GENERAL mechanics of a shooter, and name at least one in which it is impossible to describe everything that happens in the game with this statement as simple as a board. At the core of its structure, the usual counter-strike or any other shooter is no different from the fun of prehistoric times – “catch-up”. Moreover, the cult Dungeons & Dragons, which spawned dozens of clones and is still not outdated, appeared in 1974. But even then she didn’t bring anything new – because it fell into her second rule.
2) Mathematics. Yes, the very thing that no one has ever loved, and those who have loved are trolls, liars and not people at all. Do you think that if you go to work involving fantasy, you will get rid of calculations?? Yeah, right now. Mathematics is the second most necessary tool for a game designer, right after creative thinking. And the reason why this happened is stupidly simple – no one has seen the math, but it works. Mathematics is often cited as a necessary element in game development, but the “why” is not always explained. To tinker with game engines? Nope, it’s at a much earlier stage. When you’ve just come up with a seemingly perfect concept and want to implement it on paper, you may find that in actual execution it doesn’t work as it should, if at all. And the project is either “buggy” and “imbalanced”, or is becoming obsolete too quickly, or even all at once. But, if you do everything in advance, taking into account mathematical formulas and algorithms, then believe me, it will work. Because adherence to the Queen of Sciences automatically cleans up holes in the structure of the game, throwing out unnecessary supports and strengthening existing ones. The same D&D is completely built on this. Players roll dice. The maximum number on the dice is the same for both players, but by the will of the rules, one rolls the dice 1 time, and the other 3 times. And the one who rolls the dice 3 times has a significantly higher chance of getting the maximum number than the one who rolls 1 time. A simple theory of probability, seemingly based on randomness, but yes, it’s all mathematics.
/The same Dungeons & Dragons is an example when cubes and cards have held players for five decades/
Let’s look at mathematics using the example of a seemingly extremely simple and well-known game. "Fool" – a card game, telling the essence and rules of which makes no sense. But in it, mathematics is of the most decisive importance – have you thought about some game conditions that, at first glance, are needed “simply because”? For example, the number of suits is 4. Why not 3? Why not 5? It’s simple, because 4 is the minimum number that is divisible by an integer (by 2) in addition to one and itself. Let’s move on. The cards themselves – the “value” of the cards starts with six. Why not from the five, not from the four (we are talking about the standard “Fool”, without an expanded deck)? Because in total these two gaming “units” of the lowest rank make up the number 12 is the smallest number that is divisible by many numbers (12 is divisible by 6,4,3,2, and at the same time, like 6 and 4, they are also divisible by 3 and 2). That’s all mathematics. Oh, and yes, a standard deck is 36 cards. Needless to say, this number is also perfectly divisible by 12? So it turns out that “Fool” is a game entirely based on mathematics, the values \u200b\u200bof which are not taken out of thin air. Take less and the gaming system will fall apart. Take more – it will become too complex for most of the audience.
And it would seem, yes, cool, but if all this is so, then the game can be played in advance calculate. Why don’t they do that?? Because there is one so called "determining element". In the case of “Fool”, this complex word plays out a banal trump card (in the expanded deck – Joker). Because “determining” means introducing into the gameplay "chaos theory", that is, an element due to which the game still remains calculated, but at the same time it is supposedly much more random, which makes it more difficult to calculate, but not to play, and on the contrary, more fun.
This, in fact, is the key to successful game mechanics as a whole. “Mathematics”, which determines performance and conventions, and “chaos theory”, which does not allow us to unambiguously (or at least quickly) calculate all the available game moves, because we know that as soon as you reveal all the cards to the game, it gets boring, doesn’t it?
P.S. It is absolutely not necessary for you to be a Doctor of Science, but knowing mathematics at least at the level of the first two university courses is more than desirable.
3) Simplicity. In fact, this example is most effective for casual games, but in fact, it works for anything. Example – you are sitting in the office, trying to put together a concept, and your gaze catches on some 3 things. For example, a lamp, a pencil and a piece of paper. Focus on this, try to do everything based ONLY on this, without adding absolutely nothing physically material. If you can’t, replace one object, but don’t add. The more details, the more difficult it is to keep them in your head, and you will have enough stress without this.”.
Each game, one way or another, should have some kind of filling, but we’re not really talking about it now. It’s about “selling” this filling to the masses. If you just release a piece of gameplay and graphics, then yes, on the one hand it will be a game, but without compliance with a clear structure, it will most likely not have resonance, and therefore success. The structure can be divided into 3 stages – initial, medium and long. Here they are:
1) Beginner. Rules. You must define the rules of your game, what is for the developers to whom you give the “idea”, what is for the player. The simplest and most standard example is Flappy Bird. Some Vietnamese boy made three hundred thousand dollars from the simplest thing. There is a backdrop, there are pipes, there is a bird. The bird flies when you tap on the screen. The goal is not to crash into a pipe. All! Moreover, even if it’s intuitive, he even screwed the “Click on the screen” sign to the screen so that absolutely everyone understood what was required of them. Absolutely the same thing works in big games. Platformers, team shooters, cooperative simulators – come up with the rules on which the game will work and implement them, and as soon as you do, convey them to the player.
2) Medium. The game itself. That filling that you have been inventing and creating all this time. All the little extras and other cosmetic touches that were made during development. I think it’s clear here. In fact, I stupidly missed the moment in the lecture where the second point was discussed, but that’s about it, gee.
3) Long lasting. Something that will keep the player in the game longer than necessary. Usually this is multiplayer, and in multiplayer there is a challenge, a points system, and most importantly – a table of records. Piscometer, in other words. The same Flappy Bird – you collect points without any goal at all. But having scored 2 points more than your friend, you can safely run to him and declare to his face that you “made him”. Like Kulakov in the Goat Simulator stream. Human psychology, nothing more, nothing less. Competitive effect, excitement. In all browsers, this process is replaced by “real-time progress” (compensating, esesna, donation). Until recently, purely “single” games were on the decline, but the now popular episodic system, which stretches interest around the project for almost a year, proves that they have also reached this stage. And there’s nothing to say about MMOs.
These are all the “three elephants” on which the structure of the finished project rests. Judge for yourself – why do we forget about some games a week after release because "boring", others because “knocked out all the platinums, what a damn thing to do”, and others – because “stupidly it didn’t roll in”? The puncture is clearly worth looking for somewhere higher.
One of the examples presented at that lecture. Of course this is not a game, but just my clumsy attempt redraw this in AE so you get the gist. But so, there is a concept. We look at the water tap – droplets are dripping. We do this using code. What’s next? And then we have crossbars from which falling balls bounce off, making sounds. But that’s not enough. Come on, use your brain, come up with a goal that can keep you engaged in the game for a long time!
And here is a list of ideas (don’t look right away, think for yourself first):
-Pocket the ball. (Clearly. But it quickly exhausts itself, you need to come up with many levels, and this is a potential hemorrhoids)
-Don’t let the ball fall. (Clearly. But screen space will quickly run out.)
-Throw the ball as far as possible. (Not bad. But even if you make a system of improvements, how long will it last?? 30 minutes maximum).
-Add a dragon. (FUCK?! No, of course you can, but WHY THE FUCK?!)
All these options were actually considered for 10 minutes.
We need to build as many crossbars as possible for the ball to hit. If the ball hits the same crossbar once twice, all the crossbars turn red. One more time, and GAME OVER, start over. Number of bars = number of points. Just? Yes. Works? Yes. And this is the most basic example.
That’s all your "video games" are, basically. Yes, you may not consider any of the above when creating your projects, but only in two cases – if you make games “for the soul”, and not to make money, based on plots, characters, all sorts of nice features and just “turkey poultry”. Or if you stupidly don’t count on anything, and are aware that your game will go unnoticed. There are a few exceptions. After all, how much such content was made without taking into account social and psychological subtleties, mathematical ordering, competent processing of ideas, and other hundreds of little things? This is all the work of a game designer. A person on whom games as such depend – a programmer, artist, modeler or screenwriter – can find themselves in other industries. But a game designer learns to make specific games, and only them, and not everyone can master the intricacies of this profession. Yes, you can learn this, but is it what you need??
After all If As a child, did you think: “Stupid developers, why didn’t they do what I want??! If I were at the helm, I would fix everything really cool!», then after working as a game designer, you will understand that the problem is not only in oppressive publishers and lack of budget (but that too), but in the banal need to weed out everything unnecessary for the sake of the integrity of the idea. And many of the games of your childhood dreams are simply unrealizable, if you want through their creation earn money for bread and water. Exactly like the fact that not all games are made with a smile on the face with all 32 teeth, and if you are not a natural generator of ideas, then you will have to rack your brains worse than the same programmers over walls of code. Moreover, it wouldn’t hurt for you to be a programmer yourself in order to transfer your concepts to material that you can show to producers or your team.
/This guy needs no introduction. And yes, he is a game designer./
Yes, possible the option that you will become an incredibly cool game designer in a huge studio who will crack tasks like nuts, and at the same time making large games without worrying about the budget. But even if you stop flying in a fairy-tale world, and assume that such a possibility exists, is all this worth the hypothetical effort and nerves that you will have to expend?? Or maybe it’s really better to “screw it” and remain an ordinary player not that bad?
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Well, ok, let’s have a little fun, whatever =) I didn’t notice any breakdowns, but there are errors of varying degrees of rudeness.
Considering that Hit is engaged in free-to-play games, his point of view is clear to me, although not close. Personally, I have a simple question for you: why was it necessary to write an article in the spirit of “I won’t give it to myself and I won’t give it to others”? Maybe I’m wrong, but I got the impression that having been disappointed in game design as a job/profession, you decided to completely discourage others from doing it. Don’t do that.
This is true for www.froggybet-casino.uk social networks/free-to-play. Considering that the CIS gamedev is now focused mainly on them, it is not surprising that such a point of view is being pushed. We need not just cadres, but cadres loyal to this kind of party policy. Although, it seems they have already begun to calm down and look again towards PC, Steam and Early Access.
And yes, I am aware that large games are trying to adhere to a similar model through multiplayer, DLC, episodicity, etc.d. But this does not mean that you need to absolutely screw retention mechanisms and metagame into all projects indiscriminately. You need to look at what is best for each specific game.
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After all, how does an order for a game designer go?? The producer comes and says: “Man, here’s some money for you, give me an idea for a cool game.”.
What, excuse me?! This only happens in the wet fantasies of gamers who dream of getting into the industry. Usually you know at least what the platform is and what the audience is. Well, or a project is immediately identified from which everything needs to be ripped out with the help of reverse engineering, ingenuity and some kind of mother.
I don’t know how it is right now, but a year and a half ago the scenario was something like this. An investor/gene came. director/big boss who gives money for development and said: “Make me Farmville / Clash of Clans / Candy Crush Saga." Why? Because they bring in money, and the investor’s task is to recoup investments and make money. And this is one of the reasons why developers leave studios for free indie bread. I’m tired of making clash of clones and three in a row. For the same reason, many people working in the industry have their own pet project, which they work on in their free time on their knees. Lack of space for self-realization.
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Moreover, imagine if the customer also sets some conditions, like: “Come up with me an idea for a cool game about a dog.”. That’s all, frames. You’re trapped by a dog.
Absolutely normal practice. Creativity comes from limitations. If you tell a person: “Here’s your money, do what you want and don’t deny yourself anything,” he will eat through the budget and won’t budge. Only the boundaries are usually set not “about dogs”, but about the genre, platform and target audience. From the category: “Making a competitive arcade for an audience of 12-16 years old”. “About dogs” is if the game is based on a cartoon/comic/movie.
Actually, there is such a concept as “solution search area”. The narrower this area is, the easier and faster it is to find and choose a solution. If not optimal, then at least satisfactory. Considering that each solution option is a potential mechanic, we get that most of the options labeled “worth a try” will have to be prototyped. Either on the engine, or on paper, or… or even on counting sticks, by God, as long as the mechanic can see. Testing each option takes time, which means, in the case of commercial development, also money. Therefore, they usually try to narrow the search area. T.e. set restrictions (platform, setting, genre, audience, etc.).d.)
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As Dimka Kungurov said in a FarCry stream: “all the best ideas are not born on purpose, in attempts to create a game.
Cut the Rope chuckles at this statement.
The founders of Zeptolab, the Voinov brothers, deliberately experimented with the physics of rope inside a self-written engine. We were looking for mechanics.
The paradox here is that it is really difficult to come up with a special mechanic, and it seems to come up on its own, but only in the process of searching. Until you start looking, it may take a month, a year, or your whole life until “smart” mechanics come to your mind.
By the way, along with Cut the Rope, Monument Valley also cackles, the authors of which spent a fair amount of effort and time trying to make a game out of the impossible geometry of Escher and Penrose.
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This is something you immediately want to hit hard. Several times. The advice is good, but the delivery… “You’re all crap.”!»
The meaning there is something like this: “Don’t be upset if you reinvented the wheel.”. There are simply a huge number of video games. It’s physically impossible to play all this – you’ll die of old age. Therefore, in the gaming industry there is a very real situation where you can write a “Moonlight Sonata” from scratch, without knowing about the existence of the original. And then “someone” will come and rub your nose in Beethoven and his work. This is where you need to remember about this fuse. Invented the bicycle? Well, it happens.
And this point about the fact that borrowing mechanics is the norm. More like an industry standard. The question is what can you bring to this mechanic?. A handle for a cup and an internal combustion engine for a self-propelled carriage aka a car were also not immediately invented. And none of this would have come to light if everyone believed that everything had already been invented a long time ago.
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Firstly, not creative thinking, but abstract thinking. This is much more important. Secondly, mathematics, especially university mathematics, is not always needed and not in all genres. Please find me mathematics in 2d quests, or in Stanley Parable, or in graphic novels, or in Journey, or in the catch-up/hide-and-seek games mentioned in the article. No way? Maybe it’s because she’s almost not there? This is indie, which means it doesn’t matter? OK. Any TellTale game.
Here we again come up against the fact that university vyshmat, theory, difurs and other miscellaneous things are necessary and important when calculating monetization and the balance of social networks/freetuples. Even in vacancies they write: “We need a game designer-balancer”. Of course, balance is calculated through mathematics in more interesting genres. In RPGs, strategies, MMOs, etc.d. But we seem to be talking about work and the CIS. And yes, no one will tell you to immediately calculate the balance and economics of the project if you are a beginner. Well, or he’ll put you in prison if the boss asshole idiot.
In addition, it so happened historically that in the CIS, as in other countries, nerd techies were initially interested in game development, and this means engineer degrees + physics and mechanics mathematics + the belief that any system can be calculated, weighed and measured. And don’t think that this is a bad approach. Thanks to him, we have strategies, a D&D system (and therefore most RPGs) and all other useful stuff, from gaming platforms to development tools aka engines.
It’s just that in these Western countries, “artists”, let’s call them that, have also joined video games. And, for example, classic quests aka 2D adventures appeared. And from projects closer in timeline – Journey, Stanley Parable, To the Moon, Brothers: A tale of two sons.
Here we have Dybovsky doing something similar with ice axes. Well, maybe there are still some indies that I don’t know anything about.
So math is important, yes. But video games live not only by mathematics.
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What you have written in this paragraph is complete and ordinary nonsense. The development structure of NEFRITUPLEK consists not of 3, but of 4 parts.
1) pre-production
2) production
3) release (profit?)
4) post-release support
not what you wrote there.
1) pre-production
2) production
3) soft launch
4) launch
5) riveting updates
-Pocket the ball. (Clearly. But it quickly exhausts itself, you need to come up with many levels, and this is a potential hemorrhoids)
And someone was not too lazy and made two parts. Here and there.
To run after the ball. The task is to prevent the dragon from eating the ball.
You can also formalize the crossbar lines as xylophone/metallophone plates/bars, and set the player the task of playing a melody on them by beating the ball. Reference game – Simon.
You can also make a platformer in reverse. This is when you cannot control the character, but you can deform some areas of the level from which the character ball will bounce.
The search area for solutions is too broad. At least you need to decide on the platform and input scheme. ______________________________________________________________________________
If you don’t try, you won’t know.
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For those in the tank. Game designer != idea guy.
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Moreover, it wouldn’t hurt for you to be a programmer yourself in order to transfer your concepts to material that you can show to producers or your team.
Ideally, it is very desirable to have at least a little understanding of all related areas of development, and not just programming.
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Well, it’s not the gods who burn the pots.
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If a profession for you is overwhelming and hassle-free, then you are clearly spoiled for choice.
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Like this. It’s already dawn outside the window, and I’m really stuck. Looks like my biggest post, if not in all time, then definitely in a couple of years. Again, I expect reasoned criticism, and, well, that this material will be interesting to someone. In the meantime, I’m off to sleep. Good morning, yes.
Notch’s main source of inspiration was games. Namely Infiniminer, from where Minecraft borrowed cubicity, and Dwarf Fortress. I don’t know how much the Infiniminer’s creator was inspired by LEGO.
Well, why so radical?? T.e. I understand, 16 years old, maximalism, goes from one extreme to another. Either all or nothing, and so on.d. This will pass.
Um… Have you tried to at least prototype at least one simple game?? Try it, you might even like it
At least in the employment conditions of the CIS, where the main part of the product produced is MMOs, casual games and F2P.
On Mars there is life outside the CIS too. And no one bothers you to organize your own studio with preference and prostitutes.
With genres, things aren’t too clear either. People are now starting to turn away from frituplets, t.To. understand that competing with King, SuperCell, Wooga and others like them is nerve-wracking and expensive. In addition, indie studios are appearing that are not so much “about money and traffic”, but about games. Well, yes, age. You are 16 now. Who knows what is there and what will happen in 2-4 years. The situation can change so many times… But I’m not a descendant of Nostradamus, I can’t predict.
So put your nose up, tail up and forward! Check in practice what game design is and what it is used with. Oh, well, learn English too. Even without game design it will be useful.
Well, you know, it depends on the skill. If you’ve discovered different 3D packages for yourself “just a week ago” and know how to create a little man from spheres and cylinders, then you’re just a “modeler”: s
Not really, (the orchestra is below, Senior 3D Artist) Proof, but simply “3D Artist”, this is exactly what a “modeller” is, it’s just that the name 3D artist is accepted all over the world. And the word “modeler” appeared because advertisements for hiring “freelancers” are usually written by people who deal with personnel and are not strong in terms.
There is no need to draw the line so strictly, for example, after the early 2000s or 2004 (when Mikami set the concept of a third-person shooter for years in Resident Evil 4), that in no case should you try to come up with something new. I understand that you always need to have a sense of proportion and not try to build a bike over and over again, grinding every aspect of the project, but progress will never stop. With new technologies come new ideas and concepts, and behind them come full-fledged products, sometimes giving birth to new genres. Although not a very prominent example, take at least the nemesis system in Shadow of Mordor. With such advice, one day all ideas will be killed before they are even born, so you need to be a little more careful.
At that time, the foundation of the video game industry was just being laid. And even though in those days as now, games were made using the same mechanics, it is possible that many did not think so much about these little things, since the market was not yet so cruel to developers. On the other hand, all those games that became cult – the same Diablo or Metal Gear Solid, were the first breakthroughs of game designers.
Although, again, their original essence is the same, I just noticed it now. A couple of years ago I read on the wiki that MGS is a game about “getting from point A to point B.”. And then I thought – how can such a cult game be so simple?? Or maybe. After all, you actually move back and forth between locations, depending on the tasks, only in Diablo they added leveling and non-linear choice, and in MGS they added stealth and nice features. Wow, wow.
The 3D artist I’m talking about can assemble a person/tree/house from anything in Blender, make a scan, sketch out some textures, and then finish it off in substance
Panda Ader, ordinary obvious, amateur game designer (not to be confused with animator). I’m somehow not ready to provide more information, sorry.
The joke is that at the moment it’s not woven in any way. In the sense that I don’t go to work at a game studio every day. Another thing is that developers are not particularly encrypted, and in order to be aware of events (approximately) it is not necessary to hang around in the office. All information can be found on websites, forums, podcasts, Twitter, conference rooms, etc.d. Well, you need to turn on your brain from time to time. Hence the awareness.
This answer will suit you?
I love it when someone who knows how and why bursts into a conversation and puts everything into perspective. + you.
Minecraft is not something completely new? Or is this just a transferred idea of a children’s sandbox and LEGO into an electronic version, so it is also not something new?
I’ll try to pretend that I’m an expert.
So – LEGO is a game in itself, in a sense. Construction set, but you assemble it while playing along the way. Yes, and the same sandbox, yeah. Although the real sandbox has little relation to Mine, that’s not the point. As a computer phenomenon, due to the absence (or they existed, but no one knew) of analogues, and as an example of the adaptation and development of this idea in video games – very new. But relative to the whole world – no, this is just an extension of old concepts.
This suggests a joke about “This has already happened in The Simpsons,” but in fact it’s really like that. 21st century, what?. Even if you’re up to your nose in drugs and mathematics, you won’t be able to come up with something ABSOLUTELY NEW. At least at this stage of human development.
Plus, for mentioning math! But there are no modelers. There is a concept of an artist, and what kind of characters, environment, etc.d. depends on the direction in which this artist works. There is also a separation of 2D and 3D.
For example: 2D concept artist -> 3D Character artist -> 2D texture artist -> Animator (2D and 3D also available) = Completed character.
For example: Calling an environment artist (modeler) is the same as calling an interface programmer (Menu coder).