Commentaires des développeurs sur Well

From Team Fortress Wiki
Jump to: navigation, search

Vidéos

"Commentaires des développeurs sur Well (Part 1)" par foodeatsppl

"Commentaires des développeurs sur Well (Part 2)" par foodeatsppl


Transcript

(Order of commentary)

  • 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!
[Andrea Wicklund] Dans l'idéal, les parties devraient se terminer sur la victoire d'une équipe et la défaite de l'autre. Un match nul revient en effet à une défaite pour chaque équipe. Pour éviter cette impasse, nos cartes prennent en compte deux variables principale: les temps de réapparition des équipes et le temps de trajet entre le point de réapparition et le front de bataille. L'équipe ayant l'avantage bénéficie de temps de réapparition légèrement plus courts et d'un bonus de points de réapparition. Cela crée un cercle vertueux qui permet d'augmenter les chances de l'équipe de conforter leur avance et de remporter la partie.
  • 3. Les problèmes du HUD
[Alden Kroll] Les éléments en deux dimensions du HUD posaient un problème artistique bien particulier, parce qu'il est important qu'ils soient parfaitement nets, quelle que soit la résolution utilisée sur l'ordinateur du joueur. Or, étant donnée la prolifération des écrans larges haute résolution, il fallait faire appel à une quantité importante de mémoire graphique pour gérer les textures. De plus, l'anticipation des différentes résolutions potentielles représentait aussi un travail énorme. Et la tâche était encore plus colossale de par notre volonté d'inclure au HUD un maximum d'éléments incurvés. On a donc développé un nouveau système de shader permettant de créer des images de style "line art" mélangeant lignes droites et lignes courbes. Ce système permet de créer des images à des résolutions fixes sur lesquelles les silhouettes restent bien nettes, même à des résolutions très élevées. Il gère également les contours et les ombres portées et peut être appliqué, dans l'espace 3D, à des éléments tels que les panneaux.
  • 4. Points de contrôle
[Ariel Diaz] Dans Team Fortress, chaque classe a été conçue selon une combinaison unique entre attaque et défense. Les points de contrôle sont quant à eux un excellent moyen de concentrer l'attention du joueur sur les actions offensives et défensives de base. Ils permettent également d'attirer l'attention du joueur sur différents points de la carte.
  • 5. Moyen alternatif d'entrer dans la base ennemi
[Bay Raitt] Un match nul survient la plupart du temps à proximité de portes, ou chaque équipe bénéficie d'un fort avantage défensif. Pour éviter cette situation, des itinéraires alternatifs avec de fortes pénalités sont proposés, qui deviennent intéressants lorsque l'ennemi bénéficie de défense importantes sur l'itinéraire principal. Le nombre de points d'entrée ennemis d'un zone est essentiel dans la conception des cartes, puisqu'il est très difficile de protéger une zone lorsque les ennemis attaquent sur plusieurs fronts. les sorties uniques sont ainsi d'autant plus intéressantes au niveau conceptuel, puisqu'elles permettent de bien séparer le nombre de points d'entrée ennemis et le nombre d'itinéraires offensifs alliés.
[Dave Riller] Les snipers ont besoin de cartes offrant de grands espaces à découvert, de longues ligne de mire et de planques. Quant aux cibles des snipers, elles doivent pouvoir emprunter des itinéraires alternatifs afin d'éviter l+a ligne de mire du sniper, et ce au prix de pénalités, notamment un temps de trajet plus important. Le joueur doit alors choisir entre deux options: emprunter un itinéraire plus direct, mais plus dangereux, ou emprunter un itinéraire plus sûr, mais plus long. Les caches des snipers ont généralement un équivalent dans le camp ennemi situé à l'opposé de la zone de jeu, qui permet à chaque sniper de contrer l'autre et qui offre une couverture à vos coéquipiers dans les zones exposées.
  • 7. Skyboxes
[Iikka Keranen] Les skybox 3D ont été conçus à une échelle de 1/16e afin de réduire la quantité de mémoire utilisée par les grands espaces dont ils sont composés. Ce qui veut dire qu'on a dû ruser un peu lorsqu'il a fallu gérer les trains qui passent d'un skybox à la zone de jeu. Il existe en fait deux versions de chaque train: l'une à l'échelle réelle pour la zone de jeu et l'autre miniaturisé pour le skybox. Les petits hangars de réparation situés de chaque côté du bâtiment central masquent l'emplacement ou l'on bascule entre les deux versions de chaque train.
  • 8. Fight for the middle point
[Jamaal Bradley] For gameplay purposes, we sometimes need to neutralize the speeds of the classes. For instance, these central door timers were created to ensure that all classes could make it to the middle part of the map by the time the action actually starts. Playtesting showed that it was more fun to have the teams waiting as a group as soon as the doors open. The anticipation of battle, combined with the hazardous moving trains, creates a great opening clash for the middle control point.
  • 9. Point Capture Mechanic
[Jeff Lane] In our original design, once attackers were cleared off a point, they lost any progress they'd made toward capturing the point. Playtests revealed that lone players near an enemy control point had no incentive to try to capture it if any enemies were in the area. Furthermore, once a team was reduced to defending a single control point, the stronger attacking team was often unable to successfully assault the final point for the full capture period, which caused too many games to end in a stalemate. We changed the capture mechanic so that the capture progress persists for a while even after the attackers are cleared off the point, and this improvement fixed both of the problems with the original design.
  • 10. Alternate Routes
[Jim Hughes] To give players interesting navigation decisions, routes through a map should vary in effectiveness based on the player's current class and the state of the map. Water lets us increase the cost of taking a particular route, because swimming is slower than running. Spies often accept that cost in order to infiltrate undetected. Pyros avoid it because their primary weapon is useless underwater. If the enemy has a strong defense, the increased cost of the water route becomes a worthwhile tradeoff for any class trying to hit the defenders from behind.
  • 11. Stats
[Kerry Davis] Games usually approach stats by comparing the player to everyone else in the world. This is only really of interest to those who are near the top. With Team Fortress 2 we decided that a better approach might be to compare stats to the player's previous successes, turning them from a worldwide comparative system into a personalized motivational one. The beginning player gets encouragement and acknowledgment that while they're not highly skilled yet, they're getting better all the time. The veterans get to see when they've managed to come close to their previous record, which encourages them beat that record. The personal stat system also acts as a validation system. When a player feels like they've had a really good run, the stats system pops up and essentially says, 'You're right, that was a great run.'
[Aaron Halifax] Our main goal in designing the Medigun was to build a strong relationship between the Medic and his healing target. We wanted to see what we would get if we focused on creating a tight loop between two players, instead of just thinking about getting the larger team to cooperate. The Medigun's design ensures that the Medic and his target are extremely conscious of each other, watching their health and relative positions, and making tactical choices carefully. We wanted there to be skill involved in being a good healing target, so that Medics would seek out and latch onto skilled targets. This helps foster the relationship we were after.
  • 13. Character models
[Ariel Diaz] Characters are the most important piece of art in a multiplayer game, so that is where we spent most of our effort. We developed a read hierarchy for player models, prioritizing the information that players needed to be able to read merely by looking at the model. Our hierarchy was this: first, what team they're on, second, what class they're playing, and third, what weapon they're wielding. Team readability was addressed by adopting an overall color palette for each team, picking warm colors for Red and cool colors for Blu. Class readability was addressed through the character's silhouette. Unique silhouette and animation shapes are more identifiable at far distances, and across a broader range of light levels, than any amount of other visual detail on the model. Finally, the weapon was highlighted through the textures. The areas of highest contrast, which attracts player's eyes, are all focused around the chest area of our character models, right where they hold their weapon. In addition, the subtle gradient from darkness around the character's feet, to the bright areas around the chest, also helps draw the player's eyes to the weapons.
  • 14. Weapons and Gadgets
[Eric Kirchmer] Once we had a handle on the art direction for our world and characters, we turned our attention to the weapons and gadgets. While these objects have some grounding in reality, they usually diverge in significant ways. For instance, the Soldier's rocket launcher fits the general mold of a shoulder mounted rocket launcher, but somehow manages to hold four rockets in a clip. To justify this, and play up our stylized Spy-tech fiction, we designed the weapons to look like customized pieces of hardware, personalized and modified by each character to suit his own ends. In keeping with the industrial theme of the game, we looked to 60's era product design principles for the primary weapons, then focused on musical instruments for secondary and melee weapons, thinking these would reinforce the connection between the secondary items and each character's personality.
  • 15. Classes
[Charlie Brown] Player classes form the backbone of TF2's gameplay. There are a bunch of reasons why they're a useful design tool. A class is a bottled up experience, designed to be unique relative to the other classes in the game. A player who is getting tired of one class can switch to another class and get a fresh experience. They allow us to cater to players with a variety of different skills and desires. Beginning and advanced players can have fun together; cautious cerebral thinkers, strategic defenders, and twitch firing adrenaline junkies can all find their niche. Team Fortress 2's class design decisions enable us to have a larger number of player abilities in game, while still keeping a single player's decisions down to a manageable level.
[Hamish McKenzie] So late in the project, while other parts of the game were being finished up, we found ourselves with some time left over for extra animation. There were several ideas on the table, including weapon-specific taunt animations. When evaluating a feature, we look at how many other features it connects to, and taunts were the clear winner. They play well with the killer freeze-cam, adding to the relationship between the nemesis and his victim. They gave us a highly visible place to show off our new facial animation technology, allowing the player to examine it from all angles. Finally, TF2's characters have a lot of personality, and taunts were the perfect way to show that personality through the animation and voice acting.
  • 17. Character Shading
[Jason Mitchell] To achieve a style of character shading which is consistent with the early 20th Century commercial illustrations that influenced our art direction, we alter the diffuse lighting on characters. Here, we can see the Heavy Weapons Guy as he appears in Team Fortress 2, using this type of shading style. Note the tight transition between the light and dark sides of the skin on his upper arm. Using a traditional shading model, as seen here, the character lighting appears too soft and lacks the distinctive looks seen in hand-painted illustrations. Our shading model, however, captures the dramatic transition between light and dark, and helps define the unmistakable look of Team Fortress 2. Another facet of illustrative shading is the use of rim highlights to accentuate the silhouettes of characters. Without the rim lighting, the characters tend to blend into the scenery. With the rim lighting, which you can see specifically on the Heavy's shoulders, neck, and head in this example, our characters are visible against the rest of the scene and better fit the art style of Team Fortress 2.

Notes

  • Some nodes in this map's commentary cover Well's control points, and focuses mainly on CP_Well. There is currently no commentary for CTF.
Langue: English · español · français · 한국어 · Nederlands · português do Brasil · русский · 中文（简体）‎
Retrieved from "https://wiki.teamfortress.com/w/index.php?title=Well_developer_commentary/fr&oldid=57543"