Nike, the secret of that charm and immersive composition

Nike-

  • Topic: Game design for immersive narratives

  • Lecturer: Name-Hyungseok / Shift-up Director

  • Presentation: Planning

  • Lecture time: 2022.11.17 (Thu) 15:00 ~ 16:00

  • Lecture Summary: In this lecture, we introduce some unique elements designed for the immersive narratives of the goddess of victory: Nike and to transcend genre restrictions.

■ Nike, narrative method to be completed as a 'game' as a 'subculture'

The director of the company cited 'visuals' and 'play methods' as a result of joining the shift-up, especially the 'Nike' project. This is because the combination of the elite illustrator's art of Kim Hyung-tae, which is a representative of Kim Hyung-tae, was enough to attract his eyes. When I met with Kim Hyung-tae at a chance, he also sympathized with his commitment and ideals pursuing fun games.

In his eyes, Nike, who joined the project, was an unusual but angular game. Although it was possible to appeal to users who are interested in shooting games or users who are interested in character visuals, it was a time when something was needed to go beyond the perception that there was a game.

The development team came to the conclusion that 'narrative' is important to catch the core as a 'subculture' and 'game' after various concerns. In particular, it was one of the reasons why the decision was made by the IGC and other developers' conferences, and that there are many scenarios and narrative lectures, and that the scenario-centered game is doing well.

Narratives are often composed of the quality of the story, the quality of the BGM, the quality of the voice, and the direction of the voice, but the part of the director's concern was how to try it in terms of 'game'. So he is concerned about how to effectively convey the game of the game while referring to various works.

For example, 'Near Automata' effectively embodies a device that solves the concept with text alone in the loading scene. In 'Blue archive', the efforts to solve narratives in small things were shown, such as interpreting Arena and finger touch as a device that saved the sympathy with the character in the mobile operation method.

In particular, the work that was noted by the director of the company was 'Won shin'. Usually, it's a big deal to skip the story, but 'Won shin' does not have a skip button in the story. Everyone is worried about the story to appeal to users, but it was not easy for users to decide because they could be uncomfortable and departed. Nevertheless, the confident choice of Won shin gained a response from users. There was no reason to play this game at the moment of skipping, so I thought that the confidence of skipping and the unusual choice would have meaning.

But as Nike was a 2D base, he had to find another way. 2D, it was difficult to show the world in mobile games. Therefore, the device that expresses the worldview was limited, and it was common to show the character. However, while expressing the story of the character, it was difficult to implement the worldview that the developers wanted to show, and had to think of other ways.

Moreover, there were many beautiful girls on the post apocalypse, and there were many things that were not enough to compensate for the limitations that I felt while analyzing the game. This is because there was no place for a date in the post apocalypse worldview. So, I showed a broader worldview, providing immersion, and designing to put a date or daily life with the girls in it.

First, the user is a commander who carries out the tasks between the grounds and the ground in the basement, and the 'Interaction scenario', which goes to the middle of the outpost or the ark in the middle of the chapter story, talks with the main characters, and the turning point is implemented. If you have solved the process of exploring the 3D World, the intermission is the device that is the beginning of the next story while ending a chapter of the story. Through this, I wanted to make variations in the structure of the stage-cut scene. This method was also divided in the CBT and tests, but the moment I removed the taste of Nike, I decided to keep it.

He also continued to worry about the existence of licorice characters that broke the atmosphere when he led the story. For example, 'Won shin' can not always be good for the quality or tempo of the scenario, but often noted that the user has gained a response by playing a gag, drip and ventilation.

In particular, 'Nike' was a work that would not be easily shown in other games, especially in other works that had a post-apocalypse worldview. Therefore, the commander and Leigh's composition, which leads the story, has been led to the placement of 'Axis' and 'neon' that neutralize the spicy taste while increasing the tension.

On the other hand, in the tutorial section, the 'Marian' scenario was placed as a part to predict the spicy taste in advance. Recently, it was because of the 10-minute summary of YouTube, so it was because there was an opinion that the story should be shown according to the tempo. In this decision, there was an opinion that the recent situation has become difficult, and the bright story has become popular. However, there was an opinion that he did not keep up with money or fashion, but he was forced to do it regardless of sales or users, as he liked the story of 'spicy' and 'rotten taste', which is commonly referred to.

In addition, after the end of the tutorial, the plan to further enhance the immersion with in-game animation. However, this part was not processed inside the shift, so we had no choice but to collaborate with the animation producer. So, first, the opinion that the development team could lead the story by appealing the taste to the user with the highest goal of the tutorial design and showing the general immersion element. In fact, there was an analysis that the official version of the animation was better than the CBT and G-Star demonstration versions.

■ Space design to add immersion to Nike's worldview, and text quantity

As such, after Nike's tutorial and basic design, I started to worry about what to do to add the user's immersion in earnest. The director of the company cited 'space', especially 'world' as the keyword. In fact, unlike other 2D mobile collection RPGs, Nike has a 3D world that can be seen in the worldview, even if it is not a vast field like the open world.

For developers, it was a doubt that it would work because it would be effective in building this, but it was considered to be a device that could show the worldview destroyed by the rapture. It was also a device that intuitively shows how hard the commander defeats the raptures. In addition, through the process of finding lost items and solving the subquest, it also added the effect of exploring the worldview directly.

The next thing I noticed was that it was a part of building a base, not a housing, rather than a housing. Usually, subculture games choose 'housing', which decorates the characters or rooms where the character lives, but it is limited to how the character and commander live in the world, even though they can show each character. It was also a means of solving the problem that there was no place to date on the post-apocalypse worldview. Therefore, there are also places where you can solve a sweet scenario such as toy shops, hotels, amusement parks, and swimming pools. Of course, I thought I wanted to make housing, but as it took more than a year to make borrowing, I had no choice but to focus on borrowing.

Instead, it was somewhat different from the housing, but he wanted to build a 'command center', which is the space of the commander's commander and the commander and Nike, which is more likely to be immersed in the game as a commander. So, the details such as space and sound, such as toilets and shower rooms, were steadily built.

In addition, to reinforce the narrative of field content, lost and subquests were prepared, and the subquest was divided into a separate messenger without combining the quests such as daily missions or weekly missions. It can be somewhat inconvenient for the mission, but in terms of narrative, it has reached a conclusion that the immersion will survive. He also worked hard to messengers who can communicate with characters and squads. In particular, even small typos were implemented elaborately to add immersion.

Currently, the main story is more than 1.8 million characters, including lost items, subquests and messengers. This is quite large compared to the general subculture game with about 800,000 characters and MMORPG is a million characters. The publisher also expressed his intention to translate it, but fortunately he accepted the intention and could be released global safely.

Lastly, the director of the company cited so many devices that the story was well accumulated from the beginning as the key to the relatively smooth development of development. Not to make a lot, but to build a worldview and story step by step, and to appeal the charm of 'Nike', which uses spicy taste and immersion by putting up the sound, BGM, and narrative on top of it.

■ Q&A

Q. I heard that programming parts have made a lot of new attempts during Unity Waves, but I also tried a lot of stories. But if you try that, you can not have a better opinion. How did you mediate this conflict?

= There was a lot of conflict. It was hard to find a reference, so it was even more so. What is this fun? It's very hard to persuade. There are different ways to solve it, and we explained a lot about the fundamental fun. Even if there are no examples of other games, no reference, the exploration itself is fun

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