tailieunhanh - Object oriented Game Development -P14

Object oriented Game Development -P14: There’s a better than 50% chance that you have picked this title off the shelf in a bookshop and are wondering if it’s going to be another one of those ‘secrets of the inner circle’ type of titles. You know, the ones that promise to tell you unspoken truths on how to write really cool games but in reality offer up a rehash of a manual you may already have for free anyway. | 376 Object-oriented game development fact they should provide several looks and feels and the more varied the better. Later one will be selected to be the look and feel. It will be easier to pick that one if the pros and cons of several can be weighed up. So what sort of artists will we find in this early stage of a product s development Concept artist - 2D Though there is still a big market for 2D games mainly on the smaller consoles witness Nintendo s Gameboy Advance console development is dominated by 3D titles. Nevertheless this by no means diminishes the work of the pencil-and-paper 2D artist. Early sketches will start to create those looks and feels and will serve as guides for others in the pre-production phase as well as when production is properly under way. Concept artist - 3D Using material that the 2D concepters are producing it is helpful to produce 3D models to give a more in-game feel. As with the programmers writing temporary prototyping code these models may well be throw-away material. No matter much may well be learned along the way. Production Assuming that day zero is when production proper gets under way what art resources are required at this time We can say pretty safely that the programmers will not have produced any tools or any working game code. Much of the structural work is yet to occur and products will be severely hampered perhaps even fatally so by having a full art team brought on line on day There are two reasons for this. First the team members will either be bored by having nothing to do or they will start to build models and create textures without reference to any parameters or restrictions that will be imposed by whatever game systems the programming team eventually create. This almost certainly leads to wasted work by somebody. Second a large team is expensive. If a large art team spends say three months spinning in neutral then that can cost a project dearly and that is only compounded if there is work that needs .