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rimworld graphics attributes
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13:51 rimworld graphics are as important as the typeface on a novel | |
it can be better or worse but in the end I don't care except in | |
terms of how effectively it transmits the story into the player's | |
mind | |
* not ugly | |
if it's painful to look at or it looks awful on video you're not gonna | |
sell that many games because it's just ugly it's actually unpleasant to | |
look at so we try to definitely at least reach the threshold of beauty | |
where you can look at it without psychic suffering | |
* easily identifiable | |
the visual characteristics have to be very easy to identify for | |
what they represent and this is in conflict with abstraction a little bit. | |
it makes it easier for new players to play or for people to watch a video | |
our trailer and understand what's going on | |
* minimal noise | |
making the graphics really simple reduces the noise in the image | |
and that reduces the cognitive load to read the image | |
an image with a lot of detail everywhere might be beautiful but | |
when you're talking about a game like rimworld with potentially hundreds | |
and hundreds of objects on the screen scanning through that with your eyes | |
and finding what matters to you becomes harder and harder the more details | |
are in there | |
* intensity hierarchy | |
this is one way of helping people determine visually what is important | |
and what is not | |
so it's essentially a hierarchy of what you'd call visual intensity to | |
draw the eye more strongly towards things that are story-relevant and let | |
the eye slide over things that matter less | |
as a simple example characters and buildings in the game have solid | |
black outlines but plants have dark green outlines or no outlines at all | |
and this means that plants tend to blend into the background slightly | |
you can still see them it's not difficult but the characters really pop out | |
so if there's a big field of trees and one character on it the character is | |
looks like he's in the foreground and the plants are all sort of smeared | |
together and it draws your eye there and the same is true of items gold food | |
all have black outlines plants no | |
* fast implementation | |
for rimworld I really just made graphics really really quickly skipping | |
over the need to worry about animation and complex graphics made it possible | |
to inject more story content into the game more mechanics | |
a lot of this stuff would be almost impossible to do if we tried to do it | |
anywhere near the standard that a lot of games go for with their graphics | |
because if the only goal is to enrich the story you cut whatever details you | |
need to to make the story as rich as possible | |
it's all about focusing on that one target of being a story generator that | |
works well | |
* leave room for interpretation | |
I'm going to go into this later but the basic notion is that you don't | |
show everything and that lets the player imagine things better but I have | |
a later discussion on that | |
which is right here | |
usually one would assume that in order to play or in order to enjoy some | |
aspect of a game the developer has to implement that aspect of the game | |
but it's not necessarily true | |
so if you consider this table | |
Perceived by player Not perceived by player | |
------------------- ----------------------- | |
Present in game Normal Unperceived complexity | |
Not present in game Apophenia! Normal | |
in the top left and the bottom right are what you would expect | |
you put something in the game and people enjoy it if people read it | |
you don't put something in the game and nobody perceives it because it's | |
not there | |
the top right is a classic design failure wherein a designer might put | |
some complex beautiful number system in but player just reads it as | |
noise because they don't know what's going on or they don't see it | |
but the bottom left is what I'm really interested in | |
this is what I mean when I'm talking about impossible game design | |
something that's not present in the game but the players are perceiving | |
it anyways | |
think of how powerful this is because you don't even have to do the work | |
but the players are enjoying things that you never had to actually implement | |
and it works because the human mind is really an overactive system for | |
matching patterns this is why you know ancient people they would look at the | |
constellations in the sky and they would see beasts or chariots or people | |
or they saw messages from the gods in chicken guts and tea leaves | |
and people pattern match in a very specific way it's not random people | |
interpret everything that's possible as tribal interpersonal politics | |
so this is why religious traditions or mythologies would interpret | |
unknowable phenomena in the old days like weather or earthquakes with the | |
intentions of unseen deities | |
it's the weather has an intention it's not just an object | |
or political discussion tends to revolve around pretending countries | |
are people or corporations are people it's like France did this or Germany | |
did that | |
Germany is a lot of different people and it doesn't have a single intention | |
but we anthropomorphize it that way | |
and I think it's because the part of our mind that models social interactions | |
is super over developed because it's important to us | |
but it's so over developed that we thoughtlessly applied to everything | |
effortlessly without even realizing we're doing it | |
we impart emotions and intentions on things like rocks and rivers and rain | |
and stuffed animals and this happens of course even though these things don't | |
have feelings | |
so we can use this since the goal of rimworld is to create a story of | |
emotions and intentions and people are massively over interpreting | |
these things we can let the player's pattern-matching mind automatically and | |
unconsciously ascribe emotion and intention in places where it doesn't | |
actually exist and that's useful because stories are made of emotions and | |
intentions | |
so here are some ways to do it or some things that feed into this | |
phenomena which I call apophenia | |
one is abstracted feedback this is what I mentioned before the player can | |
only invent interpretations if you don't force an interpretation upon them | |
this is why the graphics are kept so simple in rimworld | |
so for example here's the situation the doctor is treating his wife's bullet | |
wound but it doesn't show the characters faces or their body language this | |
is deliberate it means that the player is free to imagine these faces in | |
this body language based on the situation | |
if we put a visual image of that body language in the player would not | |
be able to imagine it | |
so you know if the doctor and the wife like each other the player might | |
imagine a heartfelt moment of tension as he tries to save her and if they | |
dislike each other the player might imagine that they have this like get | |
it over with attitude or I'll let you touch me barely | |
and if one character likes the other but not the reverse there's all sorts | |
of other permutations that you could come up with | |
the second thing is long-term relevance you want to keep things relevant | |
for a long time to maximize the connections between circumstances and | |
events | |
interesting story events and interpretation spring from the overlapping | |
of different circumstances | |
so if you can retain over time the reasons why a character might want to | |
do things something why might they they want to have that intention or why | |
they might feel a certain way you can give people food to generate their | |
own interpretations | |
so for example this is why in rimworld I specifically designed the | |
random incidents to take a long time to play out wherever possible | |
so diseases they last a long time so does the toxic Fallot it floats down | |
for months half a year maybe | |
volcanic winter | |
prowling Manhunter packs of wild boars they wait outside the doors for a week | |
hoping you'll come out | |
sieges and so on and so forth | |
colonists remember events like family deaths or marriages or divorces they | |
know their relationship they know what this person did to them | |
failed surgeries | |
they remember these things for a long time so there's many ways for these | |
situations to overlap and connect together and knit into a story of | |
intentions | |
so for example if the doctor previously failed a surgery on his wife she | |
will have a memory record of that which the game will express | |
it says botched my surgery and makes her express dislike for him in the game | |
systems | |
but that's pretty thin in terms of how we do it numerically with the game | |
but in terms of how this player can interpret a this it can be quite rich | |
in terms of how she might feel about this situation | |
if the wife needs surgery because of a wound from an animal who's still | |
prowling outside and food is short and the two are divorced recently but | |
they had a cathartic fight that they feel better about you could just pile in | |
the context and imagine what all these different permutations | |
references | |
* https://youtu.be/VdqhHKjepiE?t=843 | |
* https://en.wikipedia.org/wiki/Apophenia |
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