Qui trovi tutti quelli che ti servono:
http://gaming.ngi.it/showpost.php?p=13334594&postcount=405
I tre (TRE) articoli di approfondimento dedicati al gioco da Eurogamer li trovi partendo dal link di Rock, Paper , Shotugun.
E' difficile non farsi prendere dall'hype ma, anche leggendo le pagine di Eurogamer, mi viene da pensare che comunque in un'anteprima ci metteranno solo un pezzo ottimo. Ergo non puoi mai sapere.
Beh, un pezzo ottimo di solito è segno del fatto di avere a che fare con gente almeno potenzialmente capace di produrre giochi ottimi.
Sembrerà una constatazione dell'ovvio ma quello che voglio sottintendere è che ci sono sviluppatori (Ubisoft?) che una fase di gioco ottima non saprebbero più proporla manco a a frustate.
Sembrerà una constatazione dell'ovvio ma quello che voglio sottintendere è che ci sono sviluppatori (Ubisoft?) che una fase di gioco ottima non saprebbero più proporla manco a a frustate.
O signore benedetto. 
vabbè ma che ragionamento, dovevano far vedere la parte più noiosa?
La mia era più una constatazione dell'ovvio. Come quando sul retro della scatola di un qualsiasi gioco non trovi certo scritto che "è un gioco di merda dalle meccaniche datate". E' un po' da graziearcazzo.com
Are depth in gameplay and a mass audience really irreconcilable? We spoke to the producers, game director, narrative designer, art director and sound director. Read here why in Human Revolution the future shines golden.
4Players: Lately many developers seem to be producing games that are maximally simplified for the masses. Was it a difficult decision to develop a game with such depth?
Jean-Francois Dugas, Game Director: That was pretty much the first line I wrote down (at the beginning of development- Editor's note): How can we succeed in capturing the essence, depth and feel of a Deus Ex game, and simultaneously appeal to a modern audience? To me the original's depth was terribly important. I didn’t want to just make an action game that lacks the foundations of a Deus Ex game. So we tried to isolate which key elements made Deus Ex special and build our game on those pillars. Of course it also had to simply be impressive and easily accessible. However I didn’t want to compromise when it came to content.
David Anfossi, Producer: We’ve always kept in mind how much the fans of the original installment love its complexity. To be fair, we also wanted to reach players that aren’t yet familiar with Deus Ex. To reconcile these both aspects without having to compromise was the real challenge.
4Players: How is that accomplished?
Anfossi: In two ways. First of all you need a strong lead character that immediately appeals to the casual gamer: You have to want to play this cool guy, you have to want to be like him. We can have complexity throughout and maintain RPG elements that develop skills and weapons- but it has to look spectacular. That’s why the special abilities, which are obtained through Augmentations, are shown in over the shoulder view. Merely adjusting off-screen statistics whenever your character alters just isn’t that sexy. Still, it is quite possible to appeal to both types of gamers.
Dugas: Above all it comes down to how the range of possibilities is presented to the player. Will he allocate an experience point here so it has an effect over there, and will he then get tangled up in a submenu of a submenu… Frankly this way he actually loses options, because they aren’t presented clearly to him. The first Deus Ex is a good example: The game never clearly told you that you had gained experience points. You’d possibly not thought about them for a while and then at some point found yourself with a pile of experience points. It’s not like we have curtailed experience points or augmentations. We’re just presenting them more clearly.
4Players: How are experience points gained?
Dugas: They are awarded for successful missions, discovering secret areas, killing enemies, but also for hiding from and sparing enemies- you get EXP for anything that you accomplish successfully. You can buy biomechanical body parts in Clinics, however not all associated abilities are immediately available to you. The abilities are unlocked in exchange for experience points. You won’t have to return to a clinic for this; you can upgrade your abilities while on the road.
4Players: How many body parts can be replaced with artificial ones, and to what extent can these be upgraded?
Dugas: The numbers aren’t final yet, but at the moment the total of the Augmentations and Upgrades is about 50.
4Players: The demonstrated scenes are a couple of hours into the game. How long would you say is Deus Ex 3?
Dugas: I’d say you’ll need about 17-25 hours when you just follow the main story. With side missions and exploration it might last well over 30 hours. At the start we were planning some 12-15 hours. I have no clue as to where we miscalculated, but we ended up with more than we set out for. (laughs)
4Players: To what extent is Human Revolution a linear game, and where is it open?
Dugas: It is linear in the sense that you unravel a conspiracy bit by bit, by discovering a plan within a plan within a plan. It is open in the way and method one tackles obstacles. And the results of certain situations may well have consequences at a later time. It’s difficult to show in the demonstration, but even when you have a specific goal you can still move freely throughout the city.
For instance in Detroit, one of the area’s in the demonstration, it is possible to achieve a goal by simply exploring the area. One of Adam’s contacts might inquire what he’s been up to, and he wouldn’t know. But as soon as he finds out the mission goal he’ll get it and the objective is immediately achieved. We don’t want you to not be able to do certain actions simply because you didn’t meet a specific condition.
4Players: Will you ever revisit places you’ve already been to?
Dugas: You’ll be returning to Sarif Industries, the company Adam works for, a number of times. The folks there will react to what he’s been doing since his last departure. We want you to get to know the people there. And without giving anything away: You’ll also pick up that something is up with Adam’s boss.
4Players: How close was the demonstration to the actual game? Is the exact mission in the game itself?
Jonathan Jacques-Belletete, Art designer: Oh, yes. And there’s a million things there we could have shown you if we hadn’t been restricted by the presentation time. Especially in the second part, in the docks, the presentation rushes from one element to the other, so we could show as many different aspects as possible. On top of that there’s so many ways you can go there. For example there’s a sewage system underneath the docks that takes you into the warehouse. And whereas we burst though the roof of the warehouse, you could have also hacked into the surveillance cameras and sentry robots, or break through other walls. Same for the urban district from the first bit: You could have talked to passersby and explore buildings.
4Players: You can go through entire buildings?
Jacques-Belletete: You can’t enter every building, but there’s a number in which you can. In these you can enter apartments, receive side missions, or sneak into an apartment to snatch something or other.
4Players: There’s supposedly a ‘social component’, but in the demo this was only briefly touched upon. Can you elaborate?
Anfossi: Sure. You can interact with every character in the game. On different levels, of course; important information or side missions can only be obtained from main characters. Less important characters will more likely give an impression of the world, of the tensions between people with biomechanical augmentations and those without. They might for instance inquire about Adam’s implants, and if you take aim at someone they might run off scared.
4Players: Might they call the police?
Anfossi: They might. If the police catch Adam with a drawn weapon it might not end well for him. And even when Adam is welcome in a certain area, the people there might raise the alarm if he wreaks havoc. Every action has consequences.
4Players: Do the decisions you make during the game influence which orders you accept and where the missions take place?
Anfossi: There’s two aspects to that. An example: In the first Deus Ex there was this scene where you were asked what you were up to in the ladies’ restroom, in case you actually had been rummaging around there. Exactly these kinds of references are throughout the game, and that’s the first aspect. The second aspect of the consequence is that one can for instance either spare or kill a key character. This character will later on either help Jensen, or won’t, respectively.
4Players: Lately many developers seem to be producing games that are maximally simplified for the masses. Was it a difficult decision to develop a game with such depth?
Jean-Francois Dugas, Game Director: That was pretty much the first line I wrote down (at the beginning of development- Editor's note): How can we succeed in capturing the essence, depth and feel of a Deus Ex game, and simultaneously appeal to a modern audience? To me the original's depth was terribly important. I didn’t want to just make an action game that lacks the foundations of a Deus Ex game. So we tried to isolate which key elements made Deus Ex special and build our game on those pillars. Of course it also had to simply be impressive and easily accessible. However I didn’t want to compromise when it came to content.
David Anfossi, Producer: We’ve always kept in mind how much the fans of the original installment love its complexity. To be fair, we also wanted to reach players that aren’t yet familiar with Deus Ex. To reconcile these both aspects without having to compromise was the real challenge.
4Players: How is that accomplished?
Anfossi: In two ways. First of all you need a strong lead character that immediately appeals to the casual gamer: You have to want to play this cool guy, you have to want to be like him. We can have complexity throughout and maintain RPG elements that develop skills and weapons- but it has to look spectacular. That’s why the special abilities, which are obtained through Augmentations, are shown in over the shoulder view. Merely adjusting off-screen statistics whenever your character alters just isn’t that sexy. Still, it is quite possible to appeal to both types of gamers.
Dugas: Above all it comes down to how the range of possibilities is presented to the player. Will he allocate an experience point here so it has an effect over there, and will he then get tangled up in a submenu of a submenu… Frankly this way he actually loses options, because they aren’t presented clearly to him. The first Deus Ex is a good example: The game never clearly told you that you had gained experience points. You’d possibly not thought about them for a while and then at some point found yourself with a pile of experience points. It’s not like we have curtailed experience points or augmentations. We’re just presenting them more clearly.
4Players: How are experience points gained?
Dugas: They are awarded for successful missions, discovering secret areas, killing enemies, but also for hiding from and sparing enemies- you get EXP for anything that you accomplish successfully. You can buy biomechanical body parts in Clinics, however not all associated abilities are immediately available to you. The abilities are unlocked in exchange for experience points. You won’t have to return to a clinic for this; you can upgrade your abilities while on the road.
4Players: How many body parts can be replaced with artificial ones, and to what extent can these be upgraded?
Dugas: The numbers aren’t final yet, but at the moment the total of the Augmentations and Upgrades is about 50.
4Players: The demonstrated scenes are a couple of hours into the game. How long would you say is Deus Ex 3?
Dugas: I’d say you’ll need about 17-25 hours when you just follow the main story. With side missions and exploration it might last well over 30 hours. At the start we were planning some 12-15 hours. I have no clue as to where we miscalculated, but we ended up with more than we set out for. (laughs)
4Players: To what extent is Human Revolution a linear game, and where is it open?
Dugas: It is linear in the sense that you unravel a conspiracy bit by bit, by discovering a plan within a plan within a plan. It is open in the way and method one tackles obstacles. And the results of certain situations may well have consequences at a later time. It’s difficult to show in the demonstration, but even when you have a specific goal you can still move freely throughout the city.
For instance in Detroit, one of the area’s in the demonstration, it is possible to achieve a goal by simply exploring the area. One of Adam’s contacts might inquire what he’s been up to, and he wouldn’t know. But as soon as he finds out the mission goal he’ll get it and the objective is immediately achieved. We don’t want you to not be able to do certain actions simply because you didn’t meet a specific condition.
4Players: Will you ever revisit places you’ve already been to?
Dugas: You’ll be returning to Sarif Industries, the company Adam works for, a number of times. The folks there will react to what he’s been doing since his last departure. We want you to get to know the people there. And without giving anything away: You’ll also pick up that something is up with Adam’s boss.
4Players: How close was the demonstration to the actual game? Is the exact mission in the game itself?
Jonathan Jacques-Belletete, Art designer: Oh, yes. And there’s a million things there we could have shown you if we hadn’t been restricted by the presentation time. Especially in the second part, in the docks, the presentation rushes from one element to the other, so we could show as many different aspects as possible. On top of that there’s so many ways you can go there. For example there’s a sewage system underneath the docks that takes you into the warehouse. And whereas we burst though the roof of the warehouse, you could have also hacked into the surveillance cameras and sentry robots, or break through other walls. Same for the urban district from the first bit: You could have talked to passersby and explore buildings.
4Players: You can go through entire buildings?
Jacques-Belletete: You can’t enter every building, but there’s a number in which you can. In these you can enter apartments, receive side missions, or sneak into an apartment to snatch something or other.
4Players: There’s supposedly a ‘social component’, but in the demo this was only briefly touched upon. Can you elaborate?
Anfossi: Sure. You can interact with every character in the game. On different levels, of course; important information or side missions can only be obtained from main characters. Less important characters will more likely give an impression of the world, of the tensions between people with biomechanical augmentations and those without. They might for instance inquire about Adam’s implants, and if you take aim at someone they might run off scared.
4Players: Might they call the police?
Anfossi: They might. If the police catch Adam with a drawn weapon it might not end well for him. And even when Adam is welcome in a certain area, the people there might raise the alarm if he wreaks havoc. Every action has consequences.
4Players: Do the decisions you make during the game influence which orders you accept and where the missions take place?
Anfossi: There’s two aspects to that. An example: In the first Deus Ex there was this scene where you were asked what you were up to in the ladies’ restroom, in case you actually had been rummaging around there. Exactly these kinds of references are throughout the game, and that’s the first aspect. The second aspect of the consequence is that one can for instance either spare or kill a key character. This character will later on either help Jensen, or won’t, respectively.
In soldoni?
In soldoni, puoi vedere gente e fare cose
Avrei postato direttamente il link ma era in tedesco.
Fa ridere vedere come gli sviluppatori continuino a lambiccarsi il cervello per trovare "la formula perfetta per attirare anche i casual" come se servisse chissaà quale raffinato equilibrio.
FATE LA CAZZO DI GRAFICA FIGA. È tutto quel che interessa ai casual. Fine.
Puoi creare anche l'RPG più vecchia scuola e "hardcore" di sempre, ma una volta che lo rendi figo a vedersi hai tutto quello che ti serve per venderlo ai casual.
Non sono d'accordo, con un gioco complicato si sparge in fretta la voce e c'è pure il rischio che venga lasciato perdere proprio perchè guadagna esageratamente una fama di "gioco hardcore" (vedi il caso di Demon's Souls per ps3, che tra l'altro ha grafica e animazioni stupende)
Ma se sta diventando il miglior argomento di propaganda, per Demon's Soul. Conosco stuole di cristi che hanno ammesso che non se lo sarebbero cagato per sbaglio se non avessero sentito parlare così bene di quant'è tosto.
Come anche si può dire lo stesso dei due Ninja Gaiden.
Tra l'altro qui si parlava di meccaniche profonde, non di livello di difficoltà.
E poi tu sopravvaluti i casual. Come se stessero a sentire da qualcuno cosa si dice su un gioco dopo che hanno visto una grafica fiqua.
Non credo sia una ubergrafica ad attirare i casual.
Quella al limite attira i bimbiminchia che stanno tra casual e hardcore.
Quella al limite attira i bimbiminchia che stanno tra casual e hardcore.
Qualche anima pia sa dirmi come posso fare a mettere Deus Ex a 1680*1050?
Ma tu per casual che intendi? Perché il mercato di questi titoli comunque non è certo quello delle casalinghe che giocano con il dildo elettrico del Wii.
Si parla di titoli mirati alla categoria "gamer", come del resto le intere lineup di PS3 e 360.
Vale a dire che quei "bimbimichia" di cui parli tu sono proprio quelli che formano per larga parte il bacino d'utenza, a cui poi si sommano hardcore e quant'altro.
Quindi si ritorna al mio punto: per rendere certi giochi appetibili per la massa basta la grafica figa. Soddisfatta questa condizione poi sono pronti a giocare fondamentalmente di tutto.
E poi smettiamola di parlare come se qualche meccanica un minimo di spessore fosse un ostacolo insormontabile. Non lo è. Un gioco come Bloodlines se riuscisse oggi su 360 o PS3 con una grafica a livello di... Diciamo di Uncharted 2... verrebbe osannato da tutti, non solo da una nicchia di giocatori PC, perché avrebbe gli "eye candy" che tirano e un gameplay che per quanto non banale non richiede il nobel per nessuno.
p.s. di mod per la grafica ne ho provati 2 e non me ne funziona manco 1 come da screen che ti presentano.
E le risposte successive lo dimostrano
La puttanata che i prodotti profondi sotto il profilo del gameplay non vanno bene ai casual è appunto una puttanata. Semplicemente le sw preferiscono banalizzare quanto più possibile perchè uno costa molto di meno in tempo e denaro, due è meno rischioso (bug più o meno gravi), terzo devi avere gente capace, quarto è valido il discorso del quote anche per le vendite.
Perchè sei un utonto.
No, perchè non mi abilitava il 32bit.
Entravo in game, cambiavo risoluzione + bit e veniva il messaggio "devi riavviare il gioco blabla".
Riavviavo, tutto convinto provavo l'addestramento per vedere il risultato e andava a merda.
Mi sono accorto solo dopo che dovevo RImettere 32bit perchè al primo riavvio mi rimaneva comunque a 16 e i mod necessitano 32.
Peccato che non si possano mescolare diversi mod grafici perchè usano tutti render differenti. =_=
Entravo in game, cambiavo risoluzione + bit e veniva il messaggio "devi riavviare il gioco blabla".
Riavviavo, tutto convinto provavo l'addestramento per vedere il risultato e andava a merda.
Mi sono accorto solo dopo che dovevo RImettere 32bit perchè al primo riavvio mi rimaneva comunque a 16 e i mod necessitano 32.
Peccato che non si possano mescolare diversi mod grafici perchè usano tutti render differenti. =_=
Ok, per me (ma non solo) quello è il mercato "casual".
Chiarito questo, sul resto sono d'accordo.
E finisce come ME2: grafica bella, musica e atmosfera, ma gioco giocato a normal.