MP13: OPT-2 Photoshop and Poser

MP12: OPT-4 Hand Drawn Storyboard

MP13: OPT- Vue-Scape

MP12:OPT-2 Maya Landscape

This is a landscape I made in Maya using grass, shrub, and tree paint effects.

MP13: OP1- Two Character Poses

Here are two poses I made in Poser, just playing around with the textures and poses given in the templates Poser has. They are rendered and lit.

MP11- OPT. 4: Powerups

For my game, the player can collect hidden tools in the game that are required to open the locked doors at the end of each maze. There are a certain number in the room, and a certain number required to open the door. There may be more than the required number in the room, leaving players options and not having to find them all. So finding the maze exit isn't enough; you need to collect the objects in order to open the door, so the player must search all corners of the maze to open the exit. Wrenches, hammers, screwdrivers, and pliers, are featured collectibles that the player must locate.

MP11: OPT1- Portfolio Plans

My plans for a portfolio include a collection of everything I would have done that highlights myself as a designer. I would include storyboards detailing the kind of design and story flow I would want produced in my game. The mechanics for the game would be outlined in diagrams, and brief summations in text explaining how the game works and plays. The levels will be summarized in terms of how they work with the story and gameplay, and the basic structure and design though conceptual art and descriptions. Screengrabs of the levels will be included as well. I would want the portfolio to properly identify me as a writer, an idea man, a director of projects, someone who can help lead the other members of a game's production team.

MP11-OPT.11: Character Traits and Backstory

The character for my maze game is Ben Burns. He works as a repairman in the Saint's Hotel, an old hotel establishment from years ago; when larger hotels started springing up. Its located on a small street in the now overgrown bustling metropolis it used to dominate. The hotel is now recently put on a list for potential demolition. The hotel was always rumored to be haunted, but what creepy old building isn't? Especially hotels. Ben Burns, who had been working there for years now, is late at work in the old hotel, cleaning and repairing anything that required it. He worked tirelessly, floor after floor, as he was the only remaining staff member at work besides the manager and security guard. After finishing his nightly duties, he made his way down the old worn steps to the basement. Putting away his gear in his leather tool belt amidst the lonely dark, he noticed a flicker of light emanating from a normally gloomy and nondescript corner of the room. He carefully approached the mysterious white aura leaking from the hairline cracks in the stone, and cautiously eyed the wall for any sudden movements. He reached the strange light striations at the rooms edge and slowly touched his hand to the wall. After a moments pause, there was a thud, and a distinct unlocking sound, as the wall receded two inches back into the room's side. It then slide back and left into the wall itself, and revealed the odd wonders behind. Ben stepped in through the light, and before him stood an immense room, littered with winding twisting corridors. He had arrived on an overlook, starring out at a bogglingly layered labyrinth of maze like masonry far below him. The platform lowered with a sudden jolt, and Ben slowly descended into the hallways of the stone trap, that laid sleeping below the grand hotel's ancient foundation. He panicked as he dropped lower, but with an unavoidable sense of awe as he watched the walls rise around him. As he reached his destination, he suddenly voices cry out; wavering towards him from the darkness ahead. They sounded forlorn and in pain. A shiver shot through Ben's quaking body as he took one first step off the platform. The moment he was on solid ground, the platform shot back up with high speed towards the top floor. Ben starred into the maze's maw as he heard the echoes of lost beings wailing from beyond. He didn't know if these were real people or just of his imagination. Or worse, a trick by the manic maze. All he knew was he suddenly felt compelled to progress. So he picked his tool belt up high on his waist, and proceeded into the unknown ahead of him. What Ben finds out is that the hotel is actually built on top of an eternal portal to hell, and the demons below are slowly making their way up to the surface. The deeper Ben goes, the closer he gets to meeting the devil's minions on their way to the human world.

Positive Traits- Hard worker, determined, kind honest heart
Negative Traits- A little clumsy, sometimes puts work ahead of other things, a bit hot headed
Visual Characteristics- greying hair, a tool belt, a grease spot on the left side of his face, jeans and a t-shirt.; the shirt has the words, "Angel's Mechanics" written on it. 

MP10 OPT 2: Production Pipeline

MP10: OPT1- Logo and Pitch Document

This is the logo and pitch document for my PC maze game "Hotel to Hell"

MP9: OPT3- Photoshop Brick Textures

I took these original images, scaled them down, removed their watermarks, and cropped them and used the offset filter as the book instructed.

MP9: OPT 2- Maze Sketches

Easy Maze

Intermediate Maze

Difficult Maze

The maze maps have a key I included, to understand the layout. The S with the arrow is the starting spot, the one with the E the exit. The star symbol is a collectable that will open the exit door, and the number symbol with the number next to the exit, is the number of collectable objects required to unlock it.

MP9: OPT 1- Maze Backstory and Mechanics

 Backstory:

Ben Turi was late at work in the old hotel, cleaning and repairing anything that required it. He worked tirelessly, floor after floor, as he was the only remaining staff member at work besides the manager and security guard. After finishing his nightly duties, he made his way down the old worn steps to the basement. Putting away his gear in his leather tool belt amidst the lonely dark, he noticed a flicker of light emanating from a normally gloomy and nondescript corner of the room. He carefully approached the mysterious white aura leaking from the hairline cracks in the stone, and cautiously eyed the wall for any sudden movements. He reached the strange light striations at the rooms edge and slowly touched his hand to the wall. After a moments pause, there was a thud, and a distinct unlocking sound, as the wall receded two inches back into the room's side. It then slide back and left into the wall itself, and revealed the odd wonders behind. Ben stepped in through the light, and before him stood an immense room, littered with winding twisting corridors. He had arrived on an overlook, starring out at a bogglingly layered labyrinth of maze like masonry far below him. The platform lowered with a sudden jolt, and Ben slowly descended into the hallways of the stone trap, that laid sleeping below the grand hotel's ancient foundation. He panicked as he dropped lower, but with an unavoidable sense of awe as he watched the walls rise around him. As he reached his destination, he suddenly voices cry out; wavering towards him from the darkness ahead. They sounded forlorn and in pain. A shiver shot through Ben's quaking body as he took one first step off the platform. The moment he was on solid ground, the platform shot back up with high speed towards the top floor. Ben starred into the maze's maw as he heard the echoes of lost beings wailing from beyond. He didn't know if these were real people or just of his imagination. Or worse, a trick by the manic maze. All he knew was he suddenly felt compelled to progress. So he picked his tool belt up high on his waist, and proceeded into the unknown ahead of him.

Gameplay Mechanics:

The player controls Ben in a first person perspective, as they go through the series of mazes, spiraling downwards into the depths of the hotel. The player can jump, and move in eight cardinal directions with the arrow keys. The player can collect hidden tools in the game that are required to open the locked doors at the end of each maze. There are a certain number in the room, and a certain number required to open the door. There may be more than the required number in the room, leaving players options and not having to find them all. So finding the maze exit isn't enough; you need to collect the objects in order to open the door, so the player must search all corners of the maze to open the exit. Once they do, they descend to the next maze, where as each one gets harder, traps may appear. Some mazes may have gaps to leap over, or spikes that may drop on them that require timing to pass. Each level presents an increasing challenge beyond the layout of the maze itself.  

MP8: OPT 3 "Level in Maya"

Level Drawing

Level Pitch

MP7: OPT 3 Pitch Document MASS EFFECT

This is the cover page for my pitch document of the original "MASS EFFECT" by Bioware.

This second page describes the game's basic plot, and the explanation of the character the player controls, along with a list of the different classes they can choose to assign to their Commander Shepard character.

The third page details the squad-mate selection screen, and the ability upgrade screen the game features.

Fourth page is about the locations of the game.

Fifth page details the combat and gameplay.

Sixth page explains the dialogue system in the game.

MP6 OPT4: Mood Board

Here is a designed mood board reflecting the ideas, styles, and moods of Valve's Portal 2. 

C.T.F. BATTLEGROUNDS LOGO THUMBNAILS

MP5 OPT 2: Childhood Game Re-designed Logo

MP5 OPT 4: Motivation and Objectives

One of the fundamental and vitally important aspects of video games today is the concept of motivation for the player, strung together through a series of objectives. When playing the game, you have to feel as if what you are doing is at least important enough for you to care and progress forward. If not, the game falls flat, and they have not entertained the player through story and gameplay at its most basic elements. Most games today whether single one time experiences or through years of a game's franchise, have these moments to keep players going. One franchise that reflects this and has been for 26 years, is the Legend of Zelda; a personal favorite of mine. The reason is in its simple yet addicting play style. The hero Link saves the princess Zelda from evil, usually evil in the form of Ganon, and the player is pushed through the game based on this building block concept as the foundation for play. And besides varying differences through the games releases over the years, the form is essentially the same each time. So why have players been anxiously returning to the series again and again? Its because it knows how to create objectives, and how to pace a game's conflicts and puzzles. Its the Zelda formula.

26 years later and fans are still fighting Ganon.

With the overarching quest theme as the background, players know what to expect from Zelda: Gather weapons and items in the hub world, locate and search through dungeons, encounter a mini boss, get a new item, progress in the dungeon, beat the boss, get some kind of important quest item, and head back to the established overworld to do it again. Each time it feels different, yet somehow the same. It creates a sense of familiarity from game to game, and ever since the first adventure in 1986, it works wonders to keep players moving through the game.

Since the beginning the objectives were clear: kill the baddies,
save the princess.

The mini boss reward is what keeps the dungeon exciting. Players expect it, and love it. And to reach that first conflict inside the puzzling chambers of Zelda dungeons, gamers are encouraged and motivated to explore and use their brain. This only enhances the experience, and makes you want to reach that boss and take whats yours. Its all about getting the girl in the end, and saving the day from evil's grasp.

Getting to that final boss is the push for gamers to progress.

Objectives and motivations are important in games. But that statement carries a lot more weight than it seems. In fact its an understatement. In a series like Zelda, its clear, but it can be said about any other successful franchise out there. The ones that succeed are the ones that understand that games are more than just getting a high score or shooting at something because you hand us a virtual gun. Its about making sure we want to play your game because we legitimately care about what happens. That we feel that playing this game is worth our time, and that there will be clear objectives showing the path to get that girl waiting for us at the top of the castle.

It has to all be worth it in the end. And thats what Zelda does best. 

MP5: OPT1- Pitch Document for C.T.F: BATTLEGROUNDS

C.T.F. : BATTLEGROUNDS

(CAPTURE THE FLAG)

Pitch Document

Author: Derek Sabety

Date: 2/27/12

OVERVIEW

Taking the classic game of Capture the Flag and bringing it to the digital world, C.T.F.: Battlegrounds is a multi-platform strategy title that allows players to best their friends or computer AI in six on six C.T.F. battles. There will be additional varying game modes for different scenarios and play styles. Examples of such would include larger battles of eight on eight, or smaller versions condensed to four. These are included in the “classic” style of play, but also in the BATTLEGROUND MODE version as well.

The platforms handling the game would include the iPhone, iPad, Android tablets, and a Facebook version as well. Its the best way to have the game accessible anywhere and at anytime, and allow players to share the scores and strategies with their friends. The game will be monetized through ads and deluxe versions of the game, which will include more playing field maps and a bonus DEFEND THE FLAG mode.

WHY ARE WE MAKING THIS GAME?

The original Capture the Flag is a great outdoor game, but its not really played as much as it was in earlier years, and even then it was generally left for kids. But now with digital games and technology, we can bring the game to all new age groups, specifically the 17-25 age demographic, with a modern twist to a strategy classic. By turning it into a touch and go multi-platform digital game, we can make it new, exciting and competitive by transforming it with flashy graphics, art and sound, all mixed in with the new game modes that will change how young adult audiences think about C.T.F. We can tap into the appeal of casual games, by creating an easy to learn and diverse version of Capture the Flag, that will aim to have a little something for everyone.

WALK US THROUGH THE GAME

Players begin by selecting their game mode, which may vary in options depending on if they are using the standard or deluxe version of the game. Players will choose the team size for the match, and then the number of individually assigned classes for their AI teammates. Players will create a custom team made up of defenders, hunters, and chasers. Players will then choose their team color, a choice in the battleground playing map for the match, and then be given a position for their flag on the field. The player then acts as the “leader” for their team, positioning them where they want on the field to create strategy, as each AI class has different strengths and weaknesses. Players, seeing only their opponents defenders and flag visible on the map, attempt to turn by turn move their players across the field, to reach the flag. In game items and game modes will change gameplay, depending on what the players feel like doing. But each offers this same basic concept, with the exception of DEFEND THE FLAG mode, which entails on player creating a barrier of teammates to defend the flag from being taken by an oncoming and increasingly difficult horde of flag hunters.

SIMILAR GAMES

RTS/Strategy games

Battleship http://en.wikipedia.org/wiki/Battleship_(game)

Civilization http://en.wikipedia.org/wiki/Civilization_(video_game)

Defend Your Castle http://en.wikipedia.org/wiki/Defend_Your_Castle

MP4, OPT 2: Logo Design for RPS

RPS: Two Players

I believe that RPS should remain a two player game. Adding more than two players only complicates things, and starts to cloud up the concept of two players using random chance mixed with strategy and predictions to beat their opponent. Adding to much to a game does not always make it better, it can just make it more confusing and add unnecessary features. RPS needs to stay balanced enough where two people can cleanly cycle through the 3 options without worrying about other circumstances.

RPS: Linear, Non-Linear, or Sandbox?

I believe Rock, Paper, Scissors, is a non-linear game. The reason being is that there are different ways to play the game, and different outcomes during gameplay. Its not linear in that the outcomes are random, and the game is flexible. Its not sandbox because its not an open customizable game with almost unlimited options. Its non linear because it has defined rules but there are those options in gameplay and the randomness to it.

3 Logo Designs for RPS

This image definitely represents RPS, and it is designed nicely, but it definitely loses points for the fact that it doesn't quite show the relationship between the three options. Also color would be nice but isn't necessary.

This one has good color, its got nice lines and shapes and does relay the relationship of what beats what going from right to left. I like this one overall.

This logo has good color, shapes, and shows the relationship clearly. I don't know if I like the imagery it  suggests with the recycling logo, but it has a lot of necessary elements while maintaing a clean look.

Varying Game Types by Name

Games have many different styles and genres today, each to present a unique gameplay experience that caters to the creators' design. Different graphics, different perspectives, and different stories all come together to make new video game adventures. A game that features realistic graphics, would be a game like Assassin's Creed, displaying entire cities and people from centuries ago, from the Arabian lands during the Crusades, to the Renaissance of Italy, to modern day America and beyond. Detailed character models, textures, and lighting come together the represent finely tuned virtual city-sized playgrounds for your assassin to complete his quest in.

Assassin's Creed 2 makes 15th century Italy a work of art.

But some games lose realism in favor of abstract creativity. Some games like deBlob, take familiar, basic concepts like cities and colors, but abstract them into a wildly imaginative game about re- colorizing an entire civilization, using abstract blob characters and exaggerated cartoon-like buildings; all with bright and vibrant colors.

deBlob 2 players slowly transform the abstract skyline from a gray wasteland,
to a expanse palate of color and vivacity.

2D games, are most often thought to be left in the 80's and 90's, but they are actually still going strong today. An example of a successful modern day 2D game would be LIMBO, a game that features 2D graphics and a strikingly unique visual style.

LIMBO's air of emptiness and dark visuals make it
a creepily engaging modern 2D side-scroller.

A 3D game is something else entirely, creating three dimensional worlds and levels for the players to roam in. They are the most common game today, with almost every modern console game featuring 3D character models and landscapes. The Legend of Zelda: Skyward Sword, the latest entry in the Zelda franchise features a fully three dimensional world to explore, as they have been since 1998 when they first departed from the series two dimensional standard.

Nintendo has been keeping Link in 3D since 1998's Ocarina of Time.
Skyward Sword is another great example of a series' 3D transition.

A game can be in first person, third person, or both views. A game like the recently released Elder Scrolls IV: Skyrim, features both first person and third person gameplay.

Skyrim has players battling and exploring in both 1st and 3rd person.

A game can be based on an idea or game from the real world, and then applied to home consoles. A video game like Mario Super Sluggers, takes the classic rules of baseball, but puts a Nintendo twist on it by adding Mario characters and power-ups.

Super Sluggers makes baseball even more fun with Mario and Co.

And finally, games can present the player with a captivating and expansive storyline, to bring skilled and well crafted stories to video gaming. A modern game franchise that has been doing this in what will be three games, is the Mass Effect series. A lot of games have good stories, but this series is an epic being told by you the player in your actions. The character you make, the people you talk to, become involved with, befriend or destroy, or any choice you make carries with you to the next game, to custom build your own Mass Effect experience as you watch the story unfold.

Mass Effect 3 brings the galaxy-sized story home with an epic
player choice based conclusion.

So these are the examples I've chosen to display how the game industry features many different types of gameplay variants to give the enormous amount of players out there, their choice in what they want to play. But this is only the tip of the iceberg in video game experiences available to gamers today.

Quick Start Poster for Rock, Paper, Scissors

I put together the images given to us in a way to briefly visually explain the concept of RPS concisely.

How a game like Ultimate Marvel Vs. Capcom 3 is actually Rock Paper Scissors

The recently released expansion game to last year's Marvel Vs. Capcom 3, Ultimate Marvel Vs. Capcom 3, is a traditional 2 person fighter. Its a cell shaded sudo-2D/3D three on three battle game. Now, although it directly does not have any obvious allusions to a game so seemingly simple and mundane as Rock, Paper, Scissors, it does have a few key elements that can be correlated to the long time game of hand gestures.
The main factor is in its strategy in gameplay. Each player in MvC3, gets to choose from a roster of playable fighters, but gets to pick only 3 to use for the match. This means that just like in R.P.S, each player has 3 options for what to send out first during play. A player in R.P.S. can send out either Rock, Paper, or Scissors, while in MvC3 a player can similarly send out either Hulk, Phoenix Wright, or Wolverine; for one example.

                              Players can literally use "Paper" as an attack

But its not just in terms of matching characters with the physical rock, paper, or scissors in R.P.S., its the basic underlying concept that players must analyze their opponents arsenal, and then apply what they have to counter or attack the enemies group of three. They have a set of moves that do different things for each character, and must decide what to use next. It can be as broad as what character would best go against what other character, or broken down into sub categories such as which specific move would best counter attack an opponents specific move choice. The other main difference is that while there are choices being made among three major options, the battles and choices are being made lightning fast, even faster than R.P.S., which is very quick in play. The choices are being made in MvC3 without stop, in a constant button mashing extravaganza, to choose the move that will bring down your opponent.

                     Each player chooses which one of 3 characters to send into battle

The game goes on until one player has defeated all the opposing characters or alternatively until the timer runs out on the game clock. After a player wins a round, it can either end there, or matches designed to be best 2 out of 3 can be played, also like R.P.S. So yes, the game is enhanced greatly to modern fighter standards with super moves, specials, healing factors and combos, but when you strip it all away, there are lines to be drawn that connect this hectic comic book-video game mashup brawl to the simple rhythms of Rock, Paper, Scissors. Its just a matter of perspective.

3 Games and Their Genres

1) Super Mario Galaxy is a platformer due to its use of the familiar "Mario" style. Players reach the goal of the level by progressing through timed jumps and basic puzzle solving, but adds a new element of physics in both 3D and 2D space.

2) BioShock is a first person shooter through the use of multiple guns, traps, and powers relating to elements and forces of nature. The player progresses through levels by shooting, trapping, and numerous other methods all through the first person perspective.

3) Tetris is a puzzle game classic, that has players move dropping shapes quickly to form solid "lines". Players must strategize which pieces to place where in order to prevent them from filling up the entire Tetris space to the top, thus ending their game.