Commentaires des développeurs sur Hydro

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Vidéos

"Commentaires des développeurs sur Hydro" vidéo posté par Wipnum


"Commentaires des développeurs sur Hydro partie 2" vidéo posté par Wipnum


Transcript

(Par ordre des commentaires)

  • 1. Introduction
[Gabe Newell] Bienvenue dans Team Fortress 2. Il aura fallu 9 ans pour développer ce jeu, mais ça valait la peine d'attendre. Pour écouter un commentaire, placez votre viseur sur un symbole de commentaire flottant et appuyez sur la touche d'utilisation. Pour arrêter un commentaire, placez votre viseur sur la bulle en train de tourner et appuyez une nouvelles fois sur la touche d'utilisation. Certains commentaires peuvent prendre le contrôle du jeu pour illustrer leur propos. Dans ce cas, il vous suffit d'appuyer une nouvelle fois sur la touche d'utilisation pour arrêter le commentaire. N'hésitez pas à me faire part de vos impressions après avoir essayé le jeu. Vous pouvez me contacter à gaben@valvesoftware.com. Pourinfo, ma classe de prédilection est l'espion. Merci et amusez-vous bien!
  • 2. Hydro's color scheme
[Aaron Barber] Contrairement aux cartes de Team Fortress comme 2Fort et Well, dont les zones rouge et bleue sont définies, les quatre arènes principales d'Hydro peuvent être contrôlées par l'une ou l'autre équipe. Il fallait donc trouver un décor susceptible de comporter des structures comme des murs de pierre ou des tunnels et qui fasse appel à une palette de couleurs neutres. Notre choix s'est porté sur un environnement évoquant le désert et on a utilisé une palette de brun roux et bleu ciel, complétée par des couleurs claires aux tons neutres. Les couleurs des autres zones sont légèrement différentes, mais le tout reste homogène.
  • 3. Hydro's randomization
[Jeff Lane] Les communautés multijoueurs ont généralement quelques cartes de prédilections sur lesquelles les joueurs s'affrontent sans cesse. Donc, plutôt que de créer une grande variété de cartes, dont la plupart servirait peu, notre choix s'est porté sur une carte unique quin donne envie aux joueurs d'y revenir. La plupart des cartes multijoueurs sont tellement simples que vous avez déjà déterminé votre stratégie avant même qu'elle ait fini de charger. Il s'agissait donc de créer une carte totalement imprévisible sur laquelle vous ne pourriez même pas deviner votre point de départ. Le début de la carte Hydro est donc généré de façon aléatoire. Et comme les positions à prendre ou à défendre changent constamment, les joueurs n'éprouvent pas de sensation de lassitude. Par ailleurs, le fonctionnement par round est suffisamment clair pour ne pas dérouter les équipes, qui reçoivent régulièrement des informations sur les conquêtes et pertes de territoires.
  • 4. Les limites des cartes
[Laura Dubuk] Toute carte a ses limites, mais à moins de n'avoir que des environnements intérieurs ou des canyons sans fond, il est possible que le joueur aperçoive des environnements auxquels il n'a pas accès. Dans nos titres les plus réalistes, comme Half-Life 2, ces limites doivent être justifiées soit par le scénario, soit par les éléments graphiques. En revanche, dans le monde très stylé de Team Fortress, le côté artificiel des graphismes est un parti pris visuel essentiel, qui nous permet de tout simplement ignorer ces justifications sans transiger avec le gameplay. Lors de nos tests, on a pu voir par exemple qu'en suivant les bordures menant à une zone ouverte, le joueur se rendait bien compte que la zone au-delà était à la fois sans intérêt et inaccessible.
  • 5. Designing the generator room
[Laura Dubuk] This area presented a difficult problem. Since the arena is primarily an interior, there wasn't much we could do to alter its basic structure, so we concentrated on careful management of the interior shapes to create an iconic space. The building is essentially a box with big rectangular windows, contrasted by round elements (generators) in the center. To create depth and parallax, we added linear elements such as railings and cables. We used contrasting values of dark and light on the floor, with walkways to create an interesting value pattern. All these elements work together to draw the player's eye to the flag--which must always be the focal point of the arena.
  • 6. Grenades
[Adrian Finol] One of the main changes between Team Fortress Classic and Team Fortress 2 was the removal of thrown grenades.
Most classes could carry a standard hand grenade along with a secondary grenade, tied more closely to the class. Team Fortress 2's focus on unique class roles led us to notice that the standard hand grenade was a more powerful combat decider than some of the primary weapons. This made the classes more similar in combat-not a desired effect. In addition, when we looked at some of Team Fortress Classic's map stalemates, they often resulted from large amounts of grenade spam. Two cases were particularly problematic: That of players throwing grenades repeatedly through doorways, hoping to kill any enemies who might be there, and players on the verge of death throwing all their grenades in rapid succession, hoping to get a kill after they die. Removing standard hand grenades made the game more fun almost immediately, especially for new players who were often confused as to why they died, when a grenade went off at their feet. When we examined the class-specific grenades, we found similar problems. Eliminating them from playtests gave us yet another boost in making the game more fun. Once we'd decided on removal, we analyzed each class to see what capabilities might have been lost as a result of the decision. In some cases we added other capabilities, where we felt a class had lost the ability to make some interesting decisions, related to its special grenade type.
  • 7. The evolution of TF2's art direction
[Andrea Wicklund] The more your art direction can use well-understood visual representations, the less work you have to do to explain your game elements. The earliest version of TF2 had a heavily realistic art direction. As time went on, we found this was causing us a lot of issues. The differences between our player classes were hard to expose satisfactorily. Weapons firing anything other than bullets were hard to visualize. Our maps didn't make a lot of sense in the real world, where two opposing forces rarely build bases within fifty feet of one another. In addition, the game wasn't visually distinct from our other products. A stylized world had none of these problems: Put the massive Heavy next to the pinstripe-suited Spy, and players understand both the numerical health differences between the classes and their very different gameplay styles. The Medic's healing beam was easily understood by playtesters when they saw the floating red plus symbols streaming into the target. A stylized fiction can easily explain why the team's bases are built right next to each other. Finally, a TF2 screenshot is easily recognizable, ensuring that no one will confuse it with another of our games.
  • 8. Ellen McLain
[Chet Faliszek] The announcer for Team Fortress 2, Ellen McLain, has the rare distinction of being the only voice actor to perform in all the products in the Orange box. For her role in Team Fortress 2, we had Ellen try various reads on the same lines letting her ad-lib different personalities. On the 5th try, she came up with the winner. Her disappointed and slightly angry evil overlord clearly lets you know, in the world of Team Fortress a tie does not mean everyone wins, but that everyone loses.
  • 9. The Scout
[Andrew Burke] The Scout is designed for players who are able to rapidly move around while tracking their target. Where other combat classes rely on high amounts of damage, the Scout relies on his high movement speed and double jump ability to dodge enemy fire. Much of his combat style is crafted through the features of his primary weapon, the scattergun. It does a large amount of damage, but has a wide spread that forces him to get close to the enemy for full effect, where he's also at highest risk of being hurt. It has a slow rate of fire that encourages him to pause to fire, then dodge, then pause, and so on, which gives enemies a higher chance to hit him at intervals. Finally, it holds a small clip and a slow reload time to encourage the Scout to pull out of combat to reload, something which he can do easily with his speed, and gives injured enemies a chance to run before the Scout returns.
  • 10. The Soldier
[Dhabih Eng] The Soldier is a core combat class featuring versatile movement and terrific long range damage capability. He's designed to be comfortable in almost any combat situation, and to be the best long-range anti-sentrygun class. His main weaknesses are designed into his primary weapon, the rocket launcher. It has a small clip size, which forces the Soldier to carefully manage his reloads, and it fires relatively slow-moving projectiles, making it ineffectual beyond short range against any opponent who dodges well, like the Scout.
  • 11. The Engineer/The Sentry
[Eric Kirchmer] Balancing the strength of the Engineer's AI-controlled sentrygun was one of more difficult design problems in Team Fortress 2. If the gun was too powerful, only the most skilled players would be able to counteract it. If the gun was too weak, the Engineer would have no chance against skilled players, effectively eliminating any reason to build it in the first place. Our solution was to make the sentrygun essentially binary in the sense that it's lethal to opponents who don't take cover, but can't intelligently deal with enemies popping in and out of cover. This forces the Engineer to use his own secondary weapons skill to compensate for the sentrygun's corner weakness, while still making the sentrygun a formidable obstacle for any opponent simply attempting to sprint past it.
  • 12. Player responses
[Eric Smith] For Half-Life 2 we developed something called Response Rules, a system that lets us fine-tune the way characters speak lines of dialog in response to game events that are not completely predictable. In Team Fortress 2, we extended Response Rules to the multiplayer environment for the first time. The Response Rule system works by listing speech concepts in a simple text file; the game code then makes characters attempt to speak when the rules or conditions defined in the text file are met in the game. For instance, when a player reloads his weapon, this signals the Response Rule system that now would be an appropriate time to speak a line about reloading. The Response Rule system checks the state of the world, and matches it to a set of rules that determine the best line of dialog to use for that speech concept. If the player's health is low, he may speak a different reloading line than if he is completely healthy. He could play a special line if he has killed more than two enemies in the last 20 seconds, another set of lines if he's underwater, and so on. Keeping dialog and rules in script files gives the game's writers the ability to add speech to the game without needing any code support.
  • 13. J.C. Leyendecker's l'influence de l'art TF2
[Moby Francke] Une fois choisie l'approche BD, on a fait divers essais avant d'opter pour la technique de J.C. Leyendecker, un illustrateur très populaire au début du XXe siècle. Sa façon ingénieuse de dessiner les vêtements et les matières permettait effectivement d'ajouter des éléments de détail à nos personnages tout en conservant toutes les particularités de leur silhouettes. On a donc utilisé des mappages standard pour créer les plis des vêtements, ce qui permet de profiter d'un bon niveau de détails pour les gros plans, sans atténuer l'impact des couleurs censées attirer l'oeil du joueur sur les armes ô combien importantes.
  • 14. Rendu des charactères
[Moby Francke] Lors de nos premiers brainstormings sur le style des personnages, on est tombé mis d'accord sur l'utilisation d'un style dessin animé ou BD, mais sans donner dans l'exagération de propose la plupart des textures "Cartoon". Il fallait des contours moins prononcés que ce qui se fait généralement dans ce domaine. C'est pour cela qu'on a opté pour une texture 2D pour définir l'éclaire sur les personnages et, aux points de jonction des zones sombres et des zones claires, on a ajouté une touche de couleur chaude afin que les couleurs soient plus vives à ces endroits. Une fois le modèle défini pour les effets de lumière, on a volontairement marqué le contour des personnages de façon à ce que les silhouettes ressortent au maximum sur l'environnement 3D.
  • 15. Le Pyro
[Marc Scaparro] Lors de la conception du Pyro, l'idée était de créer une classe experte en combat rapproché qui encourage les joueurs à tendre des embuscades. On a donc fait en sorte que le Pyro soit vulnérable lorsqu'il est à découvert, pour obliger les joueurs à rechercher les zones à couvert et les encadrements de porte. Et pour accentuer un peu plus cette spécificité, on a ajouté aux effets du lance-flammes un trouble sensoriel qui désoriente suffisamment les adversaires pour que les flammes aient raison d'eux.
  • 16. Le Spy
[Matt Boone] The Spy is designed for players who want to outsmart their opponents. At a high level, his gameplay flow is to infiltrate the enemy team, move around while disguised, and use his instant-kill backstab to take out key enemies, usually Snipers, Engineers, and Medics. His invisibility cloak is designed to help him in two key situations. The first is in getting past the frontline, where players are most vigilant against enemies and most suspicious of friends not heading in the right direction. The second is in escaping from enemies who have seen through his disguise while he's in enemy territory. His sapper was designed to allow him to easily take out unattended enemy sentryguns, forcing enemy Engineers to keep a close eye on their buildings.
  • 17. The HUD/Disguising and game design
[Robin Walker] With nine classes of characters, and so many weapons and unique abilities, one of our biggest challenges was exposing all these combinations to players without overwhelming them. Even the shortlist of essential information is intimidating, including map goals, the whereabouts of their friends, who's shooting them with what weapon, and so on. We didn't have any way to make all of this information visual, so first we had to prioritize and come up with an essential list of things every player needed to know in order to just have fun. Information they could learn by playing the game-such as map layout-was of secondary importance; but there was also information, such as the Medic's invulnerability charge, that would be completely invisible unless we exposed it. We tried to avoid attaching 2D elements to the HUD as much as possible, since we wanted players to be looking at the 3D world we'd built rather than some abstract representation. For example, players always see their own team's Spies as a Spy, but they need to know how the Spy is disguised to the other team. We tried a quick hack where we put an icon representing the Spy's current disguise floating above his head. The icon proved baffling to playtesters. When we tackled the problem by putting cut-out paper masks on the Spy, it not only fit the humorous style of the game, but it let players get all pertinent information directly from a quick look at the Spy's model, thus keeping them focused on the characters and on the action of the game. We took this as a lesson, in how holding ourselves to a strong design principle can often force us to come up with better solutions, than if we'd taken the easy route.

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