In 2018, “Yuan Neng Out of Control” was already on fire.
At that time, Spark Studio had just been established. Producer Man Honggang and Yu Wei, “Guardian of Runestones”, were full of ambitions and wanted to make a work different from the past. “Unable to Control” appeared in this context, and with the September 2018 award of CGDA’s “Best Game Level Design Award”, the work won preliminary recognition before its birth.
At this time, there are nearly two years to go before this work will finally be launched in 2020. Obviously, the days cannot pass by day by day, indifferently waiting. And Man Honggang’s choice is to let this work fully integrate with the market, so as to avoid the fate of many independent games “DEMO is the peak” also falling into “Yuan Neng Out of Control”.
The core gameplay was developed first.
Based on the consideration of different design ideas from “Footstone Guardian”, Man Honggang initially designed a gameplay that focuses on action experience for “Yuanneng Out of Control”. And this gameplay was pointed out by experts at Tencent Game Academy’s tasting meeting that there may be problems. At the meeting, the experts said:“Compared to the experience at the action and operation levels, the focus of the user’s attention should obviously be the combination of various element combinations.“At an offline private gathering, the expert used “Isaac” as a friend to follow him, “Isaac” can be made into a shooting gun similar to “Resident Evil”. game. But is this necessary? This user experience is not for your game, and what you want to do is not a horror game. “What you want to do is not a horror game——This statement really touched him. Combined with the feedback from the subsequent tests, he changed the game from a partial-action gameplay to a partial-A gameplay. The core experience naturally falls on the combination of various elements.
Similar to the changes, the difficulty of getting started.
Among the several Roguelike games I have tried, I have to admit that “Yuan Neng Out of Control” is more comfortable to use. Compared with the frustration caused by the appearance of too random enemies in several other games, “Yuan Neng Out of Control” is more or less optimized for novice players.
In this regard, Man Honggang said that at the beginning, he really thought about letting players understand the various collocations in the game through quick learning. But the final result is through test feedback and experience, and it is found that if the elements are not marked. That would be too obscure.
But on the other hand,The over-obvious labeling and regularity will indeed cause some damage to the “random” that Roguelike is proud of.. In order to maintain the balance among them, Man Honggang’s choice is to let the player out of the unexpected situation with preparation.
For example, when the user is in the exploration state. At the same time, the physical damage caused by several mobs with additional effects has caused novice players to be in a hurry. And when this physical effect stacks up with additional effects, it is upsetting. However, considering the superposition of different effects (such as poisoning, freezing, slowness, and chaos) played by mobs with different additional effects, it is undoubtedly a huge blow for players. When this kind of blow appears repeatedly, there is no doubt that although it is not clearly marked, the player already has a choice of “withdrawing from the pit”.
It is for this reason that “Yuan Neng Out of Control” does not do this.
According to Man Honggang’s ideas, when the mobs with additional effects appear in the first few levels. Players can never face two such monsters on the same screen at the same time. For example, when the ice monster appears for the first time, the player will always face only one ice assassin, not five or six. The purpose of this is to enable players to fully understand the damage that this monster may cause, and thus find a solution. When this understanding is perfected through time, the difficulty gradually stacks up, and finally enters the BOSS room, although it may still face stacking damage. However, users will have at least a “ready” feeling based on their early understanding.
For these changes, Man Honggang attributed them to the changes brought about by the awe of the market. As a research and development, this is as important as maintaining awe of the prototype of the game. This question is too big to say, but the final effect is:After the game went online, it received 85% praise on Steam and 91.3% recommendation on WeGame.
The following is the interview record:
Q You did a Roguelike game like “Runestone Guardian” before, that was a few years ago. What is the difference between the Roguelike game today and the previous one?
Man Honggang: First of all, from the point of time, it was 2015 when I made “Runestone Guardian”. At that time, Roguelike was still based on the RPG game, but after “Isaac’s Combination” brought this concept to fire. Many works have focused their core gameplay on the shooting element. Until today, we can see the sinking gameplay of various elements based on the game “The Combination of Isaac”.
“Rune Guardian” in that era did not surpass these restrictions. But today’s “Yuan Neng Out of Control” my thought is, can you make some more fun Roguelike games? There are action elements, as well as cooperation and mutual pit elements that everyone plays together. Bringing this state in, and then combining random elements constitute what makes today’s “Out of Control” different from other works.
Q In terms of the actual performance of the game “Yuan Neng Out of Control”, we will find that one of its characteristics is that there are many element combinations. For example, there are more than 100 light weapons, in addition to chips and props, etc. So many elements combined with what you just said want to make a more fun and humorous experience, how do we do this A unified style?
Man Honggang: I used to work at 2K GAMES. At that time, there was a sharing of “Lordless Land 2” released in 2K. How is the sense of humor established in “Lord of Landless 2”? We will see that this game first gives players a serious Propositions and tasks are to save the world. But in the main line, he also introduced many nonsense elements, such as pans, salted fish and so on. This idea is a basic “building a pattern”, “breaking a pattern” design idea, through the small contrast under this big proposition, and finally achieve the effect of humor-pans, salted fish, lollipops are all life The common things in the game, do players take these things to save the world?
In fact, the idea of ”Yuanneng Out of Control” is similar. We made a lot of things and elements, and then groped for a long time. The final method is to produce BD content in the game. The BD effect first undergoes a preliminary test, and then combined with the existing effect, and finally go for comprehensive debugging. For example, to make a group of poison-related chips, we will set this effect for internal testing. The judging criterion is that it can form a linkage effect with other effects such as vitality flow, combustion flow, and freezing flow. In fact, this approach is equivalent to opening the perspective of God, looking at something directly from the perspective of a third party, and adjusting it.
But now I want you to say whether it is cheating or something else. In short, I think he is still built on a familiar development method that we are familiar with. As for whether other teams can quote, I think it still depends on their habits.
Q To be more specific, you just mentioned that you groped for a long time in this process. So what I want to ask is what is the point for us to try repeatedly in this process?
Man Honggang: It should still be art production.
At that time, our manpower was limited, and we couldn’t find an optimal state for the unification of the entire game art style. We don’t want to let “Yuan Neng Out of Control” make users think at first impression that it is a new game similar to “Telephone Baby”. Here is a question of changing perspectives. How to let people see that this is a type of game that adults will like and accept? In the end we spent a lot of experience around this, and finally you will see that we buried a lot of stalks here. For example, the gloves of “Dragon Ball” and so on.
Q Regarding the establishment and unification of this style, we noticed that the first appearance of “Yuan Neng Out of Control” was in 2018, and it has been two years since then. So in the past two years, in the process of searching for this state, have we found that some users’ behavior is contrary to the original thinking?
Man Honggang: This situation will certainly occur. Indeed, as you said, “Yuan Neng Out of Control” first appeared in 2018. There are indeed many friends outside the industry and even overseas users have put forward many suggestions to us. These suggestions themselves are double-edged swords in our opinion, but ultimately it depends on how R&D chooses.
For example, at the earliest time we were doing “The Loss of Control”, we hoped to make a challenge for different action elements. Later, it was discovered that what the player wanted was not this part, so a lot of modifications were made to change it to go A, and the core gameplay part was highlighted above the effect combination. This setting was finally praised by the player.
Another example is the painting style problem I just mentioned. In fact, “Yuan Neng Out of Control” initially caused some attention from some KOL anchors. At that time, when we watched these anchors live broadcast the game, they accidentally discovered that they regarded the game as a Roguelike game similar to “Lost Castle”. This is not a good phenomenon, because if users have such psychological expectations and get the game, but eventually found that the hands-on experience is so hard, it will inevitably have a huge split, so this is unreasonable at the market level.
Similar to our operation. At the beginning, we had envisaged allowing players to learn some mechanisms through the game relatively quickly. But the end result is that the lack of clear guidance prevents users from playing games. And after our experience, we also found that the direct effect of the weapon is not explained, but if the additional function is not explained, it is too obscure to the player.
Through these cases, we are more profoundly aware that users are changing over time. They are no longer the user group you envisaged when the initial product was established, so in this case you must actively embrace and combine these needs. These requirements are actually reflected in operation, description, art and monster mechanism.
Q Just now you said that users themselves also change over time. So from the perspective of research and development, combined with “Yuanneng Out of Control”, where do you think this change is reflected?
Man Honggang: The biggest point is that the impact of mobile terminals on users may be greater than you think.
You see that our generation grew up from the host and the PC. Our network enlightenment originated from the PC and is regarded as the indigenous people of the Internet. But today, after 00, you will find that many people do not have a host or a PC. The first contact with the game is from the mobile terminal.
What changes did this change bring? It is the experience and feedback of many operations. When he chats with you, he is based on the experience brought to him by similar products on the mobile terminal. For them, mobile games are the benchmark for everything. For the research and development of our generation, our benchmark may be some games on the PC and the host side. When talking about the feel and operation, we use PS and PC as the basis.
This is a typical split between R&D and users. You can’t say that this is caused by R&D not going deep into users. Because it may have been agreed to be carved into a person’s bone marrow. But indeed we have to admit that users today are talking about perspectives, expressions of functions, etc., which is more mobile-oriented. This is not good or bad, because this is the original form of the current user. For different users, the platforms that can currently be reached are indeed different.
Q Compared with the props and weapons that can be encountered or selected randomly in the game, the design of the hero may be more complicated and involve a talent system. Can you share that if you add a talent growth system and design a brand new hero in a Roguelike game, are there any special things you need to pay attention to?
Man Honggang: First of all, your goal should be clear at the beginning, because all your design is done around this purpose. If the goal is not clear, it is better not to make it first, but also to clarify the goal. We must always understand, what is the dimension of a game? Which piece of function did I finally make? What functions does it serve? For a small team, I think that if you don’t figure out your goal and rush into it, it may eventually be a time-consuming and energy-intensive task.
Secondly, in the aspect of overall planning, I think the producer must have a panoramic picture in the early stage of his mind. This panorama should include two things. One is where are you located? The second is which one do you serve? To put it plainly, this is a big picture for R&D. Because in my opinion, the hero in the game is actually a key point that affects all other content, so you should be cautious when you do it. This must be designed on time.
For example, we have fewer team designers. So in this case, it is ultimately controlled by one person. Of course, a larger team is controlled by more people in order to build a better world view. We can see that “World of Warcraft” has designed five main core standards under this idea, and we have almost two to three standards in the end. The establishment of this standard determines that your game has its own unique place in both single-player and multiplayer online modes. At the same time, we also need to allow a player to use a certain attribute to achieve single player clearance when the player is in a single player state. Of course, some players are really not interested in some elements, but in the end, the weapon types and elements he uses cannot be less than one-third of the total number in the game. This is actually a similar thing to the five-dimensional map.
Q Just now you mentioned that heroes are involved in game content. I think it is very interesting. Because it does involve many aspects, how do we make heroes reflect their own differences in the design of heroes? That is, the hero’s own personal characteristics must be obvious, but at the same time, it must be able to ensure that the player can have a good experience by combining props and weapons.
Man Honggang: First of all, as I said earlier, you have to think about positioning. For example, if you design a hero, first of all, you need to think clearly about his position in the game. He controls the field? Or strong output? Or is it a nurse? Think about this, so that you will not be a repeating hero in the process of research and development.
But in the actual game, if you say how to do his optimized experience well. Then I think more of the work is on post-mortem testing, because you have to constantly adjust according to the specific environment and changes in circumstances. This is like a game like League of Legends. If you want to optimize the experience, it will take a long time to adjust all aspects of the ability.
But in general, I think this is also related to a research and development experience. The three factors of time, money and people are indispensable in this area.
Q Just now we mentioned that the weapon level. As a 2D game, how do we present a different sense of shock? Especially after the entire game was later changed to A, it must have been groped for a while in the weapon operation feel, then how did it finally try to express the characteristics of this humorous weapon through 2D, so that it has a different blow feeling of?
Man Honggang: First of all, the gameplay is changed to go to A. I think that at first we didn’t think about the goal clearly. That is, “Yuan Neng Out of Control” should initially be an action game? Or to do a Roguelike game? Do you want players to put more energy on combinability? Still in action? This problem has troubled me for a long time, but after the product was launched, we found that users are more focused on how to make something more fun, so our choice in the operation is to make it as simple as possible and better match their user habits. .
As a matter of fact, when we first went to the tasting meeting of Tencent Game Academy, the experts communicated with us. But at the time, our idea was still to make this game according to our own ideas. After the product came out, Tencent’s experts tried to chat with us seriously and said that this thing may not be particularly easy for players to accept because of the players’ concerns. Not here at all. You see a game like “Isaac” can be made into “Resident Evil”, but it is not necessary. Because the content that the core of the player wants to experience is not a gun shooting with fear in his heart, in other words, this user experience is not for you. What you do is not a horror game.
In any case, we stepped on a hole in this matter, and further realized that the game itself is also an Internet product, and ultimately still serve the user. So where do players care, where do you go to serve? This is another way of “striving for strengths and avoiding weaknesses”. In this way, we will make our own strengths, and then optimize the short board. For example, there are only one option in some gameplay games before, can I open more options? For example, for auxiliary aiming during an attack, you can choose auxiliary aiming in addition to automatic aiming. These changes are all aimed at the user experience level, but the core changes of the game are not big by comparison. In general, we groped for a long time in this area.
Q You just said that you fumbled for a long time, then it seems that it is a subtraction process at this stage in combination with what you just said. So in addition to simplifying the operation experience at the action level, what simplified work have we done to optimize the user experience?
Man Honggang: There is also a classification of the effects of the chip. Allow users to get a better user experience.
What is this approach? Do you see the game “The Killing Spire”? In the game, the cards obtained by the player are not drawn by themselves, but are sent by the system. But here he chose to deal cards rather than draw cards. The ultimate goal is to make the player’s gaming experience better. Because if you draw completely randomly, it is actually very difficult to make such a perfect hand. The choice of licensing mode is also based on the player’s current situation so that he can be more excited and happier.
Our approach is similar. We first classify the chip effects internally. Then it allows players to get the chips a little easier, and can form some combinations relatively easily. The description tells the player that the drop of the weapon may be related to this. And behind this is actually a compensation mechanism, that is, when the user has not harvested for a long time, the system will give him an additional drop stimulation or compensation. For example, when you have a relatively low life, you will lose a heart, and when you have no more life, you will lose an extra heart. The purpose of this approach is to prevent players from easily interrupting the game experience. Because we have to consider that the game is over after the Roguelike game is dead.
In fact, settings similar to this are reflected in many games, such as “Resident Evil 4” in high difficulty, players will appear new herbs every once in a while to replenish their blood. But for us, it took a long time to realize this. For players, one of the more important changes is that it may be smoother to play in the current version. It is not easy to interrupt the game experience like it was a year ago.
Q Just now you mentioned that this game participated in the tasting meeting of Tencent GWB, so what advice and help did the experts give us at this time?
Man Honggang: In fact, participating in the tasting meeting was when the product was relatively early, probably in 2018. At that time, Tencent’s experts gave us opinions on the operation feel and content production. In the end, their concerns were indeed verified by the market.
Speaking of Tencent’s help to us, I don’t think it can be described in too much detail. It is undeniable that some details will indeed provide developers with a lot of help. But more importantly, they can communicate and coach you through the feedback of the platform and their own development experience. This may be lacking by many developers, and in the process of communication, I feel that everyone is a game developer, so chatting is more fortunate. But in contrast, I have a very obvious feeling, that is, Tencent’s ability to master and grasp the market and users is indeed much stronger than ours, and at the same time, the mentality is also more mature than us.
Q “Yuanneng Out of Control” I noticed that it is a game where Steam and WeGame platforms interoperate. What was their attitude towards this piece when talking to WeGame at the time?
Man Honggang: My feeling is that WeGame is relatively open, so it’s relatively smooth when it comes to cooperation and communication.
From the user’s point of view, we can actually see that more and more games are beginning to cross-platform communication, such as “Fortress Night” and so on. Because the user’s own composition is complex, the needs are also diverse. In this case, it is unfair to force a user to play on only one platform.
Man Honggang: We mainly refer to the performance of some similar Roguelike games in the initial stage, and combined our games to make changes. We found that many similar games are unfriendly when players start playing. Because you will see that many unexpected situations in the game are too sudden for users. For example, the monster can be resurrected after being killed, or the additional state of monster attack can let me drop blood through the shield. These settings can’t be overstated, but if you consider that there is no prompt in the system to the player, it really looks unfriendly.
How do we change in this situation? Maybe we will not make a prompt, but when the player first encounters a monster that can cause a poisoning effect. He will always face only one such monster, instead of suddenly appearing five monsters that can poison the user for a superimposed effect attack. Secondly, when monsters of other states appear, our final choice is to let these monsters appear one by one instead of groups. In addition, although the map is random, some of the content with teaching nature will be gradually opened to players.
This practice makes the overall experience brought to the user by “Yuanneng Out of Control” still relatively smooth, such as when the player encounters a monster that can be frozen. There will always be a small frozen assassin first, but there will never be two or three at the same time. The setting of the ground thorn is the same. At the beginning, only a small area has obvious ground thorns. But starting from the third level, players will find that in addition to the edge of the center zone, there are also thorns.
As another example, the damage caused by the effect of the tracking class will not be set very fast at the beginning. Players will definitely be given time to react, but the speed will gradually increase in the later period. There are also monsters like slime. When he was wiped out, the blast burst on the ground and left a mark on the ground. The player knew that these could not be stepped on. Through the settings of these mobs, when they finally enter the BOSS room, they are already familiar with the mechanics of this game. Therefore, the idea of ”I haven’t seen these things before, why you suddenly gave them to me, of course I can’t beat them” does not appear. All we have to do is to design a line through such a mechanism, and then let the player slowly become familiar with this process. The idea of ”why are you unreasonable” will not be angry in the game.
Q What about the consideration of connecting multiple people? There is a lot of elemental combination in “Out of Control”, each player may want to be different. In this case, will there be a conflict between the stand-alone mode and the multiplayer mode?
Man Honggang: This challenge is very big. In fact, there is a situation in the online mode that we have not completely avoided today.
In a multiplayer online collaboration model. Every player wants to be a unique hero. But the problem is that the cooperation mode needs cooperation, who is the treatment, who is the output, and who is the human shield. However, in the case where the content of the Roguelike game is randomly generated, there is a possibility that everyone will be exactly the same.
The emergence of this situation poses great challenges to cooperation. Every player longs for self first, and secondly for random effects, and then hopes that my random effects are different from others. We need to ensure that all three factors exist at the same time, because only in this case can the game played by players in the cooperative mode be different. And this difference has a strong communication effect, that is, I think you have a good combination of this round, and I want to try it in the next round. Instead of “how come our two sets are exactly the same?” This makes no sense.
Finally, our solution is to drop them separately, each of which changes slightly when distinguished. The final result is that although everyone is in a game, even the same hero may have different content elements randomly selected by each person. This situation causes different choices and avoids the exact same situation.
Q Next, let’s talk about things at the team level. Many R&D teams will have a phenomenon. Just now you mentioned that after the line was found to be disconnected from the needs of users, how do we integrate with the needs of users in this case?
Man Honggang: Every game developer will say “the player is a friend”. But I think this can’t be just talking. Because the player’s definition of a research and development is complicated. He is not only a friend, but also a challenger, your user, and finally the person you want to serve.
I believe that many R&D will have this experience. At the beginning, we happily made a project that is challenging for us. We think players will love it. But the final result is that players not only don’t like it but also give us a blind eye. When this happens, my opinion is whether you have communicated your kernel to your players in the most appropriate way? The game is ultimately user-oriented, so you can’t pretend to be high and don’t be conceited. If you do so, you will end up being backlashed by the market.
Let’s not talk about games, let’s experience the interaction between people. Maybe you made a smoothie for your girlfriend out of good intentions, and you think the weather is too hot. But what you overlooked is that today she has a fever of 39 degrees and cannot eat smoothies. In this case, your expression may be unreasonable, but if you make an ice pack with ice cubes to give her a cold compress, at least it is a reasonable expression at the moment.
So when we go back to game development, we have to say that research and development must be very considerate and consider players’ suggestions at every step. Then stick to your core gameplay. But on the other hand, we must choose an appropriate expression to externalize the player.
Q But there is a degree here, which is what you can listen to? What words are just listening?
Man Honggang: The key to this problem is that you have to listen to the player’s opinion, but in the end to experience the game, you have to do it yourself.
After all, players are players, not developers. Therefore, he may overestimate some content, and may also underestimate some content. In the expression, it is more likely that the content of some subtexts he did not say. In this case, you need to take a look at the game in person, experience it, think according to his suggestions, and finally get the relevant answers.
From this perspective, in fact, I really hope that there will be some data platforms for us to send us a summary of user feedback in a timely manner. It may be difficult for individual developers to obtain these things, so all we can do is communicate with the players and experience the game. At the same time, think about what the player said, what does it mean to give this feedback? What kind of experience does he want? It’s not a simple one. If the player says it’s bad, I’ll change it, or if the player says it’s bad, I’ll ignore him.
Q actually talks about player feedback. One thing is more common, that is, some small and medium-sized teams have a good reputation before the product is launched, and they are also looking forward to it during the test. But after the real launch, they suddenly experienced a situation of word of mouth collapse. When large users flooded in, their ratings began to decrease, and players’ negative opinions began to increase. So what do you think of this?
Man Honggang: I will answer your question from a personal perspective.
First of all, I think that from the beginning, if the funds are not very sufficient, it is possible to devote to one of them to make a game that has ideas and is a big production. In fact, at least the beginning is good. We can see some teams, a dozen of them, have invested a lot of energy and cost, and the team is also hard enough. What is more valuable is that their original intention was simply “we Chinese should also be a 3A” or “China should have such a product.” In this case, I think you can’t say that he is here to cheat money. Maybe he did not do well, but combining this situation is not unacceptable.
Secondly, from another perspective, I think R&D should also be clearly aware of the reality that when you are testing in a small area, the players who can definitely come in are a group of core people. He is not generally interested in this type of game, but very enthusiastic. In this case, the test scores are good, the score is good and the final market-oriented are two concepts. In particular, there will also be some positive and positive reports from some media, but in the process, it will actually blind the eyes of the research and development. He mistakenly thought that these people talked to themselves, and those who spoke for themselves were all People. In the end, he can see these people, and he can ignore those who can’t. As a result, any product changes he made were aimed at this small group of people. From this perspective, gamers should also have some tolerance. When a product has just officially launched and a large number of users are pouring in, you need to do enough psychological construction work and then make changes based on the opinions of these pan-users. The game is finally facing the market is actually a sinking process.
Q Just now you mentioned a point of view is the self-sustainability of research and development. Indeed, we can feel that some R&D is vulnerable to this issue. What do you think about affordability?
Man Honggang: First of all, I think my affordability is not bad, because I have experienced success and also experienced failure.
Secondly, jumping out of the game, we can see a phenomenon that is a famous player from the past to the present, and there is no undefeated battle. On the contrary, a general who can only win the battle, eventually we will find that he cannot win the battle level victory! Putting this into the game industry is equally applicable. A R&D that has not experienced failure cannot be said to be successful, but he may not be able to make a big deal.
What does failure bring you? It is experience, thinking. Today I am full of awe for the market, but after a few years of retreat, I am not the mindset of the market today. I was in awe of game design and the game itself. Seriously study and research various development knowledge and models, but I do not care about the market and users. But in the end, the setback really told me that this would not work. From this perspective, R&D itself must have a certain psychological capacity.
Q Back to the Roguelike game, let’s not say that “Yuan Neng Runaway” From the perspective of the developer, we can see that there are many teams that make this type of game on the market today. But basically the original form is a few works such as “Isaac” and “Magic Confrontation”. In this case, what do you think is the breakthrough point of the Roguelike game?
Man Honggang: This situation does exist, and he gradually saturated the market. From a market perspective, I personally think that if Roguelike is the only way to do Roguelike, then there is really not much space and content to be tapped. But the same, can we cut in from another dimension and do some dimensionality reduction attacks?
What does it mean? You jump out of the battle to see if you can combine Roguelike and Fandom? I think this may be a more promising direction. Can we try in the field of or interactive narrative? I remember that there is a game in France like this, a novel can be combined through various randomly combined pages. So can you change the narrative angle through random elements? In fact, if we start from the battle alone, then I think the depth of Roguelike has been dug up and the market is relatively full. But if you look at this market from other aspects, there is still a lot of room for expansion.
For example, “Thirteen Fighter Defense Circle”, if this plot-oriented product is made into Roguelike, what will he look like? In fact, I think one field or another industry, his progress depends on diversified attempts. For example, when we first started the game, we had to manually adjust the lens, but afterwards, we could complete this work with one-click automatic adjustment. Of course, we also admit that each team is good at the field, the producer’s research and development ideas are different, they all have their own persistence and design principles. Everyone’s starting point for a game project is also different. But in short, I still think that Roguelike should not get together in a field. Instead, it is necessary to try a diversified combination to expand its market audience.
Q There is a question here. If you really do some Roguelike plus games as you said, then I would like to ask what the order should be? That is, should we add XX plus Roguelike or Roguelike plus XX?
Man Honggang: Everyone’s ideas and angles are still different from this point of view. From my perspective, I should try the XX plus Roguelike ideas. Act according to your actual situation. I’m not good at this, but what is certain is that there are some things that can be explored from the work itself. Perhaps the expansion of this circle outward is a new continent.
We can see that Ken Levine, the producer of the “Network Adventure” series, is like this. When he first gave a speech at GDC, many people thought he was bragging. And when the first generation of his “Network Adventure” appeared, it really did not make people feel what he said of “artificial intelligence.” But when the product evolved to “Network Adventure 3”, people finally realized what he was going to do? As a result, he shocked the world successfully. But you see this process is very interesting, Ken Levine is very visionary, but he also understands what is necessary for me to achieve this vision. In fact, it is the same for many of our developers.
Q You just said that you can do what you can. Then I asked if I said something was different. What kind of exploration can we do, and what should we wait for?
Man Honggang: This question is easy to answer. Look at how much money you have? Before going to estimate your exploration costs, can you accept these?
For a production team, anything you do is a project. So everyone should be responsible for their own food, clothing, housing and transportation, and therefore consider these. You can’t say that it’s because you are pursuing your ideals, or because you are willing to be an old ox, forcing others to be an old ox with you, and making others hungry. This is an irresponsible practice.
In the final analysis, there are several points: First, you have a good vision. Second, you have a way to achieve your vision. Third, you have to go through this approach. You can convince investors or you can convince members of the team. Then you can do this. Then your success or failure depends on the market, time and many comprehensive factors.
Author: sea CIS
Source: Tencent GWB Game Unbounded
Original address: https://mp.weixin.qq.com/s/yY0XJiZd7wWgoWAD0MYsbQ