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分享以QA为跳板进入游戏设计领域的经验

发布时间:2012-12-20 14:25:58 Tags:,,,

作者:Kevin Oke

(游戏设计师Kevin Oke将与我们分享他从QA迈入游戏设计领域,以及如何为此设计作品集的经验。)

从QA测试员跃升为游戏设计师的现象十分普遍,通常,游戏设计作品集是该过程必不可少的一部分。我过渡到游戏设计师的方式也基本如此,但不同的是,是作品集内容成就了今天的我。

我希望,自己的分享能够有益于那些有意进入游戏设计领域的学生或其他人,希望他们明白,如果你打算通过创建作品集获得职业,你可以自由利用UnrealEd关卡编辑器制作另一个FPS模式或死亡竞赛地图。如果你打算制作一款单一色调的平台或roguelike游戏,那就着手行动!遵循自己的创意,展示主动性、创造性地解决问题的技能及对游戏的热情。潜在雇主极其看重积极性。人人都能学会制作方法,但创意与职业道德则难以传授。

在大学暑假期间进入QA行业后,我决定辍学,以全职身份投入其中,以此向我梦寐以求的职业——游戏设计师靠拢(我从小就沉浸于NES游戏机)。

除了尽自己所能做好QA职责,我还会努力突显自己的不同,寻求关注。之前,网页上铺天盖地地报道了以QA生涯作为跳板进入开发领域的事例,因此我会简要处理QA事宜,主要着眼于核心工作以外可以将我引入设计行业的事项。虽然我曾效力于4家公司的QA职位,但是在Next Level Games的那段日子开启了我的游戏设计之路。而且,这份工作以及同QA部门建立的关系,无疑为我几年后以设计师的身份回归提供了帮助,而当时是因为项目数量不多才离开。

How-to-Become-a-Video-Game-Tester(from g4tv.com)

How-to-Become-a-Video-Game-Tester(from g4tv.com)

在QA部门创建关系

重要的是,你应向QA主管表达你的热情与目标。确保他们知道你的职业发展选择,因此可以提供一些帮助(比如额外任务、测试游戏的特定区域,等等)。

同时,你应尽可能多地与开发者见面。如果你可以在发送邮件与面对面交谈之间做出选择,你应选择后者(有些开发者为了免受打扰,更希望以邮件方式交流,那我们应尊重他们的决定)。

你还应让开发者记住你。做好本职工作是一方面。但以个人身份与他们联系同样至关重要。如果该首席动画师在桌面上设置了龙猫图案?那你应表示出自己对宫崎骏电影的喜爱程度,但不要占用他们太多时间。只要铺垫下。寻找类似开头话题有助于你与他们建立联系,并让自己被记住。而且,你还应做出优异成绩,那样,你在未来才有广阔的发展前景。在项目接近尾声时,如果需要重新签约一位QA测试员,或打算雇佣初级设计师,你会成为他们主要考虑对象。

展示自己的欲望与能力

展示主动性,自愿承担额外任务。当我在Next Level Games测试《Spider-Man: Friend or Foe》时,以下是我承担的额外任务:

*尽可能多地与游戏总监分享观点与创意(但不要令他们抓狂)

*以QA身份参与游戏团队会议,提出自己的想法

*每周向公司传送构建成分以制作移植版本

*利用日语能力确保游戏中的东京关卡不会遭遇潜在的法律或文化问题

*维护项目维基中的QA内容

*为新测试员创建项目测试指南

*设置和调整好公司每月“啤酒与蛋糕”聚会的主机,以便其它工作室的成员可以试玩游戏

*利用不同硬件配置,测试游戏的Xbox 360版本

*自愿帮助Mario Strikers Charged团队测试游戏

以上某些工作是主管必须完成的,有些则是我向他提出的想法。而我所付出的努力确实巩固了我与项目、工作室主管/经理的关系,同时提升了技能。

作品集

现在是我目前的第三份QA工作,虽然我已接近初级设计师水平,但我十分清楚,自己需要创建出更棒的作品集。我需要证明自己的积极性、热情、某些方面的才能,以及对设计的理解(至少孺子可教!)。

我具备强烈动机;现在我需要设计工具。我并不想研究学习曲线,我打算局限自己的技能范围。之前,我已经利用UnrealEd关卡编辑器制作了一组小型死亡竞赛地图,并在3DS Max上创建了一些飞行镜头下的动作冒险关卡模型(游戏邦注:这是作者利用NLG午休时间自学的技能)。但在上述问题中,由于缺乏使用这些工具制作内容的激情,我仍无法吸引玩家在该游戏中投入时间与精力。

在GameMaker上,除了其易用性与相对简短的学习过程,以下是它吸引我的其它原因:

*我是复古游戏与像素艺术的拥护者

*它主要用于制作2D游戏

*它同样适用制作多种题材游戏

*我打算制作某些独特的原创游戏,那样我可以掌控游戏的各个方面(不需要费力改装),从程序设计之初开始以原创为主具有一定意义

我在游戏行业积累的价值经验是,我极其认真地对待这些项目。我总会在测试台上利用定位方式设置核心游戏机制,直到感到满意,才开始构造关卡或真正图画(有时难以抵制诱惑)。

尤其重要的是,我会尽力避免超出能力范围,因为我的野心已远超自己的编程与绘画能力。我认为可以利用GameMaker制作更加强大且复杂的项目,如同UnrealEd可以避免我的项目在性能开发方面陷入瓶颈期。与此同时,我会记下整个项目过程,包括思考过程、取得的成就、遇到的挫折(现在回想起来十分有趣)。

我们难以处理工作、作品集设计与社交生活的平衡,但约莫一年后,我对外发行了4款游戏,其中两个是针对潜在雇主的未成型演示样本(不久之后会在网络推出最终版本)。以下是我设计的一些游戏,以及有关其起源与开发的信息。

Consumer CULTure

consumer CULTure(from gamecareerguide)

consumer CULTure(from gamecareerguide)

《Consumer CULTure》仍遵循我在GameMaker上制作的游戏主题,以及我一直喜爱的理念:重造,或拆分核心机制,而后移除一个或多个核心机制,查看剩余元素。该游戏改编于《Robotron》,借此讽刺西方的消费文化。我选择《Robotron》,除了因为自己是Eugene Jarvis作品的忠实粉丝,还因为游戏的残酷本质,以及华丽喧嚣的老式街机风格似乎是最佳制作对象。

De Toren

detoren(from gamecareerguide)

detoren(from gamecareerguide)

在机制方面,《De Toren》属于最具原创性的作品。不同于以往游戏,我的好友参与了该作的测试过程,这为某些方面的调整与增加玩家反馈上提供了极大帮助。还有位好友(即Hi Chuck)为其制作音乐,我十分满意其产生的效果。我希望,自己某天可以重新审视这个理念,从中挖掘更多元素。友情提醒:目前,《De Toren》的完善Flash版本正在fgl.com上寻找定所。

Gravity Assist

《Gravity Assist》是我步入设计领域制作的第一款游戏。在开发初期,我想要制作一种反风格的枪支运行方式。最后,我将此方法与来自益智游戏的重力理念(萦绕在我脑海中的想法)结合。我十分满意boss的作战机制,而且,它极大地影响了原作中的代码,从而提升基础沙盒模式,加快运行速度。

虽然没有最棒的像素美工参与,但我的确满意这些图画产生的效果。在《VVVVVV》之后,我推出 了《Gravity Assist》(虽然在《VVVVVV》发行前我已着手制作这款游戏),游戏中只有两道关卡,因此并未得到网络关注,但该游戏确实令我获得了一份工作。

以上并非最佳游戏设计案例,或一人独立团队可以利用GameMaker制作的游戏,与此相反,它们中囊括了不少漏洞,而且其理念显然与游戏不大相符。本来我可以进一步完善这些方面,但为了及时完成,我缩短了项目进程。而且,其中大量错误明显标志着我是个初出茅庐的设计师。当然,现在我所采取的设计方式更具整体性,且根植于自己获得的经验与原则。其实,我仍为这些作品感到自豪。

oke_gravityassist(from gamecareerguide)

oke_gravityassist(from gamecareerguide)

我从未打算将游戏尽善尽美,而是体现出我可以利用固定设计原则与方法,执行某个概念,完成自己的初衷。我常以概念验证样本形式开发游戏,向潜在雇主展示它们。由于了解何时完成并继续前进,我会时刻告诫自己想要寻求设计师职位,而不是程序员或美工。我认为,从事大量不同题材的小型游戏能保持事物的新鲜感,维持我的制作动机。我不知道,如果自己一整年都在制作同个大型项目,结果又会如何。

发行游戏并获得反馈总会令人受益匪浅。获得正面报道会令人心情愉悦。在此,我的最巅峰时刻是《De Toren》获得了IndieGames.com 2009年度10大最佳独立免费街机游戏的提名。

以QA测试员的身份离开Next Level Games将近两年后,我以关卡设计师的身份重新回到游戏行业(在这两年间,我曾效力于两家公司的游戏测试)。能荣获这份工作取决于3个因素:1)在QA工作期间留下的深刻印象,2)确定我在这两年间并未与游戏行业失去联系,3)我所设计的作品集。我知道如果没有作品集的作用,我不会获得这份工作。

总结

自从步入QA行业,甚至是跨越到设计领域,形势便开始发生转变。随着更多设计专业毕业生的出现,相应就业机会大幅缩减,因为AAA工作室正在裁员,小型公司无法为应届毕业生提供实习机会。也就是说,独立领域将比以往更加强大,新道具及平台的实用性与开放性为这些独立新手提供了大量机遇。甚至是GameMaker本身也发生了巨大改变。

在此,我并非旨在告诫你不能利用UnrealEd制作作品集,或使用任何基于行业标准的道具与编辑器,并且,我也并不是要说你只能使用GameMaker(虽然其功能巨大)。重要的是,无论你拥有怎样的目标,你都应付诸行动,制作出自己相信的游戏。而后利用最佳方式实现目标,突显自己的与众不同。

实现自己的想法。你在其中投入的欲望与热情将会显而易见,相对于为了额外奖励严格执行苦差事,你会更具优势。(本文为游戏邦/gamerboom.com编译,拒绝任何不保留版权的转载,如需转载请联系:游戏邦

Making the Jump from QA to Game Design

by Kevin Oke

[Game Designer Kevin Oke shares his story of going from QA to game design, and how he built his design portfolio in order to do so.]

QA tester to game designer isn’t an uncommon career path, and usually a game design portfolio is a part of this transition. My route to game design was much the same, but what was different (and hopefully worth sharing) are the contents of the portfolio that got me to where I am today.

My rationale for sharing was to benefit students or anyone wanting to break into game design, to let them know that you don’t have to feel forced to make yet another FPS mod or deathmatch map in UnrealEd if you want to build a portfolio geared towards getting you a job. If you want to make a monochrome platformer/roguelike, go for it! Just follow your creativity, show some initiative, creative problem solving skills and passion for games. Being proactive is huge to potential employers. Anyone can be taught a toolset. Creativity and work ethic? Not as much.

After doing QA during the summer break from university, I decided to quit school and work full-time in testing to claw my way up to one of the jobs I had coveted since I was a kid obsessing over the NES — game designer.

Aside from doing my QA duties to the best of my abilities, I worked hard to differentiate myself and get noticed. Life in QA, and using it as a stepping stone into development has been covered before in-depth on the web, so I’ll keep this (relatively) brief and focus on things that I did outside of my core job description that got me into design. Although I worked in QA at four different companies, my time at Next Level Games was what really got me my start in design. The work and relationships I established in NLG’s QA department definitely helped me to return as a designer, several years after having to leave due to the studio due to lack of work.

Building Relationships in QA

It’s very important you communicate your passion and goals to your QA lead. Make sure they know that you want to move up into the discipline of your choice so they can help you with that (side tasks, testing a specific area of the game, etc).

Also, try to get as much face time as possible with the developers. If you have the choice of emailing a developer or talking to them at their desk, always go for face time (some developers do prefer email so as not to be disturbed — always respect their preference).

Get them to remember you, too. Doing your job well is one way. But try to connect with them on a personal level as well. Does the lead animator have a Totoro figure on his desk? Bring up how much you love Miyazaki movies, but don’t take up too much of their time. Just plant the seed. Find conversation starters like that to create relationships and get remembered. Combine that with doing an awesome job and you are putting yourself in an excellent position for future opportunities. You’ll be at the top of their mind at the end of the project when they only have space to re-contract one QA tester, or they have an opening for a junior designer.

Demonstrate your Desire and Abilities

Show initiative, and volunteer to take on additional tasks. At Next Level Games, where I tested Spider-Man: Friend or Foe, the following are some of the extra tasks I took on:

Shared my observations and ideas with the Game Director as much as I could (without driving him insane)

Sat in with the gameplay team during meetings to represent QA and bring up my own ideas

I would FTP the build every week to the company making the portable ports

Used my Japanese language abilities to ensure there weren’t any potential legal or cultural issues in the game’s Tokyo-based levels

Maintained the QA section of the project wiki

Created a project ramp-up guide for new testers as they were brought on

Set up the consoles in the company lounge for our monthly “beer and cake” parties so the rest of the studio could try out the game

Created and executed a test plan for testing the Xbox 360 version of the game using different hardware configurations

Volunteered to help out the Mario Strikers Charged team if they ever wanted a pair of “fresh eyes” for testing

Some of these were jobs my lead needed to fill, while some were ideas I pitched to him (double proactiveness bonus!). This effort served me well as my relationships with project and studio leads/management got stronger and my skill set grew, but something was missing…

The Portfolio

Fast forward a bit, and I was now at my third QA job, and although I had come close to a couple of junior designer positions, it was clear I needed a better portfolio. I needed demonstrable proof that I was a) proactive b) passionate, and c) there was at least some modicum of talent and understanding of design in my head (or that I was at least teachable!).

I had the motivation; now, I needed the tools. I didn’t want to deal with a large learning curve, and wanted to limit fighting technology as much as possible. I had made a couple of small deathmatch maps in UnrealEd before, and a few action-adventure level mock-ups with fly-through cameras in 3DS Max (which I taught myself during lunch breaks at NLG). But between the aforementioned issues, and lack of excitement with what I could create out of the box with those tools, I wasn’t attracted to them enough to devote serious time and energy to them. Enter GameMaker.

Besides ease of use and a relatively small learning curve, I was attracted to GameMaker for the following reasons:

I’m an unabashed retro game and pixel art nerd

It was purposely built for 2D games

It’s also well suited to projects in all sorts of different genres

I wanted to make something unique and original, in which I would have total control of all aspects (without the need to do laborious modding), and making an original game from scratch in a program designed to do just that made sense

My experience in the industry was valuable here. I took these projects very seriously. I always sandboxed the core gameplay mechanics using placeholder art in a testbed and wouldn’t allow myself to start making levels or real art until I was satisfied with what I had. (it was very hard to resist this temptation at times!)

I was careful not to overscope, especially important because my ambition far outstripped my programming and art abilities. I think using GameMaker over something with much more power and complexity like UnrealEd definitely helped me keep my projects from being feature creeped into development purgatory. I also kept diaries for all my projects to record my thought processes, achievements, and setbacks (which are pretty amusing to look back on now).

It wasn’t easy between crunching at work, putting time into the portfolio, and trying to keep up with a social life, but in roughly a year I released four games to the public with two others as unfinished demos for prospective employers that were eventually wrapped up and put on the internet later on. Below are a few of these games and some information surrounding their origin and development:

Consumer CULTure

Consumer CULTure follows a theme seen in several of my games done in GameMaker, and a concept I’m still interested in: deconstruction, or stripping down genres to their core mechanics, and removing one or more of those core mechanics and seeing what’s left. This game was a deconstruction of Robotron, to be used as a vehicle to lampoon our culture of consumerism in the West. I chose Robotron because in addition to being a fan of Eugene Jarvis’ work, the unrelenting nature of the game and the colorful, blaring style of old arcade games (which are essentially advertisements for themselves to get players to insert more quarters) seemed like the perfect base from which to work off of, considering what I had in mind.

De Toren

De Toren was my most original game, in terms of mechanics. More than my other games to this point, I had friends playtest it and that helped greatly with tuning and adding more player feedback. I had a friend (Hi Chuck!) do the music and I was really happy with what he added to the game. I’d like to someday revisit the concept as I think more could be mined out of it.

Shamless plug alert: An improved Flash port of De Toren is currently looking for a home on fgl.com.

Gravity Assist

I ended up finishing Gravity Assist and releasing it to the public after I got into design. At the start of development, I really wanted to do a Contra-style run ‘n gun. I ended up
combining this with the gravity flipping from a puzzle game concept I had been kicking around in my head for some time.I was quite happy with the boss battles, and it was great to be able to leverage the code from my previous games to get a basic sandbox up and running quickly.

Never the greatest pixel artist, I was really happy with how some of the art assets turned out. Releasing Gravity Assist post-VVVVVV (although I started work on my game before VVVVVV was announced) and with only two levels didn’t do me any favors in terms of getting noticed on the Internet, but the game served its purpose in helping me get a job.

None of these games are perfect examples of game design or what a one-man indie team can do with GameMaker — far from it. They have bugs and the concepts are admittedly half-baked in places. I could have taken them further, but cut the projects short to ensure they got finished. There are also a lot of mistakes that mark the games as the product of a designer in their infancy. My approach to design now is certainly more holistic and grounded in principles and experience I’ve picked up. That being said, I’m still very proud of these games.

The intent was never to polish them to perfection, but more to show that I could execute on a concept using solid design principles and methodology, and finish what I started. I always developed them as POC (Proof of Concept) demos and presented them to prospective employers as such. In terms of knowing when to finish up and move on, it was important for me to keep in perspective that I was hunting for a designer position — not a programmer or an artist job. I think working on a number of small games in different genres kept things fresh and me motivated. I don’t know how things would have turned out if I had instead tried to make one single, large project over the course of that year.

Releasing the games and getting feedback was always eye-opening. And in the case of positive coverage, it was very gratifying. In that regard, the pinnacle of this was this was IndieGames.com naming De Toren in its top 10 list of 2009′s best indie freeware arcade games.

Nearly two years after having left Next Level Games as a QA tester, I was brought back as a level designer (having worked at two other companies in testing during the interim). The three key factors in getting that job were 1) the impression I left during my time there in QA, 2) ensuring it didn’t go to waste by maintaining my connections there during the intervening two years (a whole other story), and 3) my portfolio. I know that without the strength of my portfolio, I would not have gotten the job.

Takeaways

Things have changed since I started in QA, even since I made the jump to design. Schools are graduating more design students than ever, yet job opportunities for new designers with established companies are contracting as AAA studios downsize and small companies don’t always have the bandwidth to take on and train a new graduate. That being said, the indie scene is stronger than ever and the availability and openness of new tools and platforms are providing tremendous opportunity for self-starters. Even GameMaker itself has changed a lot since I used it.

I’m not saying that you shouldn’t make a portfolio in UnrealEd or whatever tomorrow’s set of industry-standard tools and editors are, nor am I saying you should use GameMaker (though it is pretty awesome). The important thing is that whatever your goal is, you have to make something — anything! — and have it be something you believe in. Use whatever tool will best help you achieve your goal and differentiate yourself.

Make what you want to make. The desire and passion that you put into it will be readily apparent, and you will represent yourself a lot better than with a chore done strictly for extrinsic rewards.  (source:gamescareerguide)


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