|||| | ||||||
|
What Went Right 1. Maintained C&C style of game play One
of the most difficult tasks we had to overcome during the development
of Tiberian Sun was to maintain the feel of the original. When
making a sequel, the question that always has to be answered first is,
How far do you stray from the original game to make it compelling, yet
still familiar? The intent with Tiberian Sun was to maintain,
as much as possible, the feeling of the original while providing new
and interesting tactics for players to master. To aid in this goal, when adding a new feature
we asked the questions, “Is this consistent with Command & Conquer?”
and “How can we make it easier and even more exciting?” In
this area, it really helped to have a development team that worked on
the previous games. They were able to draw from previous experiences
to create a consistency in the game dynamics. This gave the team a great
deal of independence since everybody already had a good idea of how
the game was supposed to look, play, and feel.
It
was important for the overall visual presentation of the game to bear
a resemblance to its predecessors in order to maintain a consistent
artistic style. We decided to alter the perspective slightly, rotating
the camera to create a three-fourth isometric perspective that afforded
a better sense of depth and realism in a 3D perspective. It was at this
point that we decided not to use a polygonal engine since it wouldn’t
be possible for us to keep the system requirements low enough to achieve
the mass-market appeal that we wanted. Also, at the time we planned
to release Tiberian Sun, 3D accelerator cards and systems weren’t
fast enough for us to maintain the visual detail we wanted for the hundreds
of units and structures on-screen at once. 2. Working on a sequel to a successful franchise. Being
the fourth RTS game Westwood has done, there were a lot of lessons learned
that the team was able to carry forward into Tiberian Sun. First,
we had an established and streamlined user interface. This user interface
has been a cornerstone of Westwood RTS games since Dune 2 and
we’ve been gradually improving it ever since. Anyone who has ever played
a Westwood RTS is immediately familiar with the controls and can jump
right into the action. Additionally, the interface is simple and intuitive
enough to let new users become comfortable with it in a short time.
When
it came time to create the story, we already had the basic framework
in place. There was a very rich and fascinating world to draw upon when
creating new characters for this story. The one difficulty encountered
was making sure the story could stand up on its own and be accessible
to new players without subjecting players familiar with previous games
to mind-numbing exposition. To solve this problem, we set the story
30 years after the end of the original, which provided an opportunity
to create an outstanding introduction that showed players what had been
going on in the world. 3. Team experience and cohesion
The Tiberian Sun development team is one of the most experienced
and professional teams I’ve ever had the privilege of working with.
For many of the team members, this was the fourth RTS game they had
done (the previous being Dune 2, C&C, and Red Alert).
This level of experience was key in allowing the team to conquer all
the obstacles thrown in their path. Even though I had worked on half
a dozen titles before I started on Tiberian Sun, at first it
was a little unnerving for me to be working with a team of this caliber. Several
members of the programming team had worked together on previous Westwood
RTS products and were accustomed to each other’s coding styles. New
programmers were quickly assimilated into the team and were able to
adapt well. The coding rules and Westwood libraries allowed the programmers
to familiarize themselves with each other’s work with minimal difficulty.
Without
the technical knowledge and creativity of the artists on the project,
we would have suffered a great deal of pain when integrating artwork.
Like most projects, Tiberian Sun had a specific set of technical
criteria that had to be satisfied when creating art for the game engine.
On this front, we reaped the rewards of having artists who had done
it all before. They had worked with our programming team and knew the
tools well enough that they were able to head off potential problems
before they could get out of control. The cinematic artists had much
of the same experience; they didn’t have as many technical restrictions
as the in-game artists, which allowed them to be able to express unbridled
creativity. The cinematic artists didn't have to deal with frame limitations
or palettes. Also, compared to previous games, the movie player in Tiberian
Sun allowed for full-resolution movies (as opposed to previous games
where every other line was cut out) using 24-bit color depth and a 15FPS
frame rate. I still remember the first time we saw the movie in which
the Mammoth Mk. II laid waste to an entire Nod base by itself; it left
everyone in the room speechless.
4. Balancing process
Balance is one of the things that can make or break a RTS game. It’s
one of the hardest things to do on the design side of the product since
you’re essentially trying to optimize an equation with dozens of independent
variables. If you get it wrong, you’ll have a boring game and a horde
of disgruntled fans cursing your name forever. When the issue of balancing
comes up, you’ll often hear about the “rock-paper-scissors” idea, but
I like to think of it more in terms of a chess game. You’ve got a lot
of different pieces, each with a unique function and set of strategies
that takes a long time to master. Having
made several RTS games before, the team knew how to balance a game.
We started with two approaches: one scientific and one artistic.
Using
the scientific approach, we started with the relatively simple idea
that in a steady state units with an equivalent cost should do equivalent
damage to one another. The basic idea is that if I have $1,000 worth
of units and you have $1,000 worth of units and they fight, the fight
better be really close. From here, we kept adding variables until we
had a relatively playable game. The
next step was a lot more artistic and was where experience really paid
off, keeping the team from long periods of fumbling around blindly.
We played countless games with each of us championing one side vs. the
other, carefully noting how effective units and tactics felt against
one another. We would get together after each game to compare notes,
argue our points, get into fights, and then make one change at a time
to the game and try it again until we were all satisfied with the results.
The whole process took about three months for Tiberian Sun, compared
to six months for C&C and four months for Red Alert.
Even after the countless games we played against one another, we still
got into shouting matches during close multiplayer games. When this
happens, you know you’ve got a winner on your hands. 5. Mission Design Mission
design is one of the most important elements of RTS games. Based on
experience with previous games, Westwood has established a series of
processes that are used whenever a mission is created. We’ve designed
these processes to foster creativity, maximize efficiency, and promote
communication between the design, programming, art, and management groups.
This process has been refined on every project and we’ve taken it to
the next level with the upcoming Firestorm add-on.
The
process begins with a mission design proposal submitted to the lead
designer and producer. The proposal is a two- to three-page document
that contains summary information about the mission such as name, side,
difficulty, map size, mission type, and so on. The mission briefing
is included along with a description of what the briefing movie should
be and all of the critical information that must be revealed to the
player. Mission objectives are listed as they would appear in the game,
along with specific information on how to achieve the objectives. Win
and lose conditions are created, as well as descriptions of the victory
and defeat movies that play at the end of a mission. The last things
included are all of the new voice and text messages used in the mission. Once
this proposal has been approved, the map for the mission is sketched
out on paper. We’ve found that this process can save a great deal of
time since it eliminates distractions and allows the designers to get
an overall view of the map quickly. When the designers finish sketching
their mission, they proceed to the editor and begin to create the basic
battlefield. Terrain is laid down first, followed by buildings, roads,
trees, and pavement.
Tiberian
Sun features a good blend of production (such as building bases)
and non-production missions that keep the pace of the game interesting
and challenging. We tried not to do the same mission twice and added
variety by combining mission types into non-production/production missions
that switch from one to the other when players reach specific objectives.
Branching missions were added to give players the option of completing
sub-missions before they tackled the main objective. By playing sub-missions
first, the player makes the final objective easier and it gave the designers
added granularity when creating the difficulty levels for the game. ________________________________________________________ |
|