Almighty Video Game Designer

"This ending ... What the hell is this!!"

Xue Lin was shocked. She thought that the male protagonist had finally walked out of the shadow of his wife's death after so many years of torture, but he was going to commit suicide?

This ending was too depressing. The main character only had two choices. Either he would drown in the nightmare of his wife's death and never wake up, or he would commit suicide?

Lin Xue felt that she was in a bad mood. After playing this game, she wanted to just give up and go out and listen to a crosstalk to ease her pain ...

……

Many of the designers who had participated in the design competition had bought the game as soon as they could. They were quite curious about what Chen Mo meant by "better vision restriction".

Then, when they started playing the game, they suddenly realized that the so-called "vision restriction" didn't have to be a traditional visual restriction. It could be expressed in other ways!

The traditional visual limitations had already been excavated, and there were only a few of them. The players were getting tired of it.

For example, they could limit the players 'field of vision through darkness, create unexpected dangers through narrow spaces or open doors to kill.

And around these visual restrictions, through some special "means of removing visual restrictions," players could create a terrifying experience of tension and relaxation.

For example, the dark scenes and night vision cameras in outlast were a classic practice that many horror game designers had learned from.

However, suffocation had a unique way of making horror games, which was a victory in creativity.

Was suffocation a difficult game to make?

The video game designers realized that it wasn't difficult at all.

Horror games were actually a type of game that tested the art. The more realistic the scenes were, the more terrifying the atmosphere would be for the players.

In order to give these video game designers a fair environment to compete, Chen Mo even opened up Thunderbolt games 'art material library for them, allowing them to use any high precision horror game art material they wanted.

Without the art materials, the horror games made by the designers would be very eye-catching, and some of the better ideas wouldn't even be reflected.

Imagine if the art scenes in outlast were all simple and crude, the monsters 'movements were stiff, and the graphics were simple and crude, how much horror would there be left ...

However, suffocation was a game that didn't rely on art material. All the scary levels were presented with simple lines. It was the crudeest horror game in history.

These video game designers knew that for a video game designer like Chen Mo, he had almost unlimited resources, and could use the best art materials to create a high-quality game.

But what about new designers? It was too difficult to create a good quality and innovative game while saving as much resources as possible.

Chen Mo didn't use the game to show off, nor did he make it too fancy. Instead, he used the least resources and the most novel ideas to tell all new designers how to design a game based on their own situation.

A lot of people had felt it when they played the game. It seemed to give people a completely different horror game experience.

Although he couldn't exactly tell what was different, it was indeed very different from other horror games.

After experiencing it for a while, these people came to a sudden realization.

It was because of the sound of the game.

In other horror games, the sound was just used to enhance the atmosphere.

For example, in outlast, different scenes would have different sound effects.

In a quiet setting, the player could clearly hear his own footsteps. His mind would be highly tense, and any slight movement could make him feel a burst of fear.

When being chased by monsters, the players could clearly hear their own rapid breathing and heartbeats accompanied by the intense background sound and the howls of the monsters. This would make their adrenaline surge and make them feel extreme fear.

However, suffocation was unique. It used the sound that was used to set off the horror atmosphere as a way for the players to understand the surrounding environment. It was equivalent to combining sight and hearing.

The players were faced with a choice at all times: If he didn't make a sound to explore the way, he would be drowned in the darkness and it would be difficult for him to move. Making a sound to explore the way was against the self-defense instinct of humans, and it might attract monsters in the dark.

This unique visual limitation had given the game a series of unique playstyles. It was no longer a simple parkour game, but a combination of puzzle-solving, exploration, and parkour. At the same time, it combined a unique art style to provide players with a completely different horror game experience.

Moreover, this game was perfectly compatible with the features of the next generation of vr.

The players could make any sound in the game, whether it was talking, coughing, or knocking on the wall. All of these sounds could be used to explore the way.

This way, the player's sense of immersion was further enhanced. He could even see that the volume of his voice affected the range of the sound wave exploration. Every time he made a sound, he had to be careful and careful, unlike other horror games where he just had to hold it in and not make a sound.

Of course, if someone were to ask if suffocation was a horror game that surpassed the classic horror games, they would be able to imagine the horror game.

Obviously not.

Out of all the horror games Chen Mo made, suffocation was the simplest and least scary one. It couldn't even be compared to outlast or Silent Hill.

However, the main reason Chen Mo made this game was to show all new video game designers the infinite possibilities.

A new videogame designer would be limited by resources and would not be able to make a good game?

Of course not.

Using the available resources, excavating one's own imagination and creativity, as much as possible to play to one's strengths and avoid shortcomings, and making one's work the best, this was what a designer should do.

Or rather, what was an outstanding designer?

It wasn't a good hand of cards, but a bad hand.

An outstanding designer could make up for any shortcomings with excellent creativity and create works that surpassed the times. This was the most attractive part of the game design industry.

The designers who participated in the competition sighed. The big boss was indeed a Big Boss. They couldn't beat him even if he destroyed his own martial arts ...

This feeling was like in some fantasy novels, where the big boss said,"I'll suppress my realm to fight you," but after the fight, he realized that he was still crushed!

"What should I do? I feel like I can never reach salent's level in my life ... Sigh."

Some of the designers who participated in the competition felt that they had never doubted their lives as much as they did today ...