Behind the Scenes - Issue #3 - Page 4
Chris:
The most important components of a sleek space fighter are, without a doubt, its weapon systems. What kind of technical gimmickry can we expect with which you can turn your opposite into a bunch of space debris?
Timo:
We have several terrific ideas for wicked weapon systems in the drawer but yet focused on rather conventional types. Generally we differentiate between projectile, energy and explosive weapon types. Explosive damage has a certain range; projectiles partially penetrate the ship’s shields and thus deal hull damage, but don’t damage the shield. Energy weapons diminish the shields and also deal hull damage once the shield is completely down. In addition we have weapons that just deal shield damage, short distance weapons and long distance weapons like a sniper cannon. Consorting these weapons we also have the classic dogfight weaponry like laser, particle beams or gatlings, as well as different kinds of rocket types which can also be homing. With this you can create an individual combat style by combining different weaponries in cooperation with a strategic set up of your player team.
Nick:
The weapon effects are quite sophisticated, combining simple geometry with lavish particle systems. The different effects don’t just have a color and other structures but emit most diverse particles that let an effect look like plasma or create small train of “sonic rings” on ballistic weapons. Weapons differentiate from each other by their projectiles, muzzle flashes and the impact effect and so give you always something new to discover.
Chris:
Will it be possible for low level players to engage high level players or is it the best choice to leg it if a large tub comes around the corner?
Timo:
With our mission system we put very much emphasis on allowing players with larger level differences to meaningfully play against and with each other. The fact that only players of the same level or a very small level difference can play against or with each other like it is handled in many other MMOs was always the main factor that we felt as very annoying and we paid much attention to design this more flexibly in Black Prophecy. In a pure one-on-one the level of course has a higher meaning but in Black Prophecy many other factors like the individual weaponry, its orientation and the player skill come into play. A simple “Yes/No” answer to this question does not exist but I think that is a good thing.
Chris:
To make your hobby your job is a dream for many players which can however become reality. What do you need to bring along to successfully set foot as a game designer or graphic artist in the games industry?
Timo:
Openness for all genres, the will to try out new things, the power to nerve and the skill to clothe your thoughts in words. As a game designer you of course need certain creativity – but it is not enough to simply be “creatively mad”. You need the previously mentioned technical understanding but shouldn’t be driven into your own ideals. It is also of advantage to have a long history with games to understand the origins and why some of these concepts still work nowadays. A general analytical understanding of the games market is also important to realize why specific concepts work out well at a specific time. Nobody is being paid, no matter how creative he/she is, if the ideas are impossible to implement technically, incomprehensible, economically apprehensive, too bigoted or depleted.
Nick:
To set foot in the games industry as a graphics artist you should have intensive exercise in the creation of graphics. Terrific practice grounds for this are games that allow modification (modding). This shows the future employer that you are able to acquire knowledge proactively and most likely are able to work in a team. Creativity is not stringently necessary but of course of big advantage. If you can only model or texture already existing models like weapons or cars you probably won’t get a job in a studio that develops fantasy games but there are still enough companies that exactly need these kinds of assets.
The more diverse your portfolio turns out, the higher the chances are in general. Thereby it is not even important that your technical knowledge or the perfect implementation of your models is superior. Such details are obtained quite quickly in professional game development. Another thing that you need to bring along is the will to improve yourself further because stagnation only produces unsatisfying results as time goes by.
