LO4: Final Presentation

LO4: Finalising - Costs

I warn you now, I'm not so good at maths. It was never a strong point but in order to plan out this game I had to figure out what would actually go into it budget wise if it were ever made, had a full team behind it and had an entire marketing campaign to get people to actually buy it. Considering the size and scale of the game I have a feeling the majority of these prices are going to be quite high, though it's a good thing this game isn't going to be made, knowing I couldn't afford these prices even in my wildest dreams.

The majority of games now sell for around about £40 which is a fair enough amount for a new game that's of this size and hopefully quality, but in order for it to BE of good quality we're gonna have to have a design team behind it with people in all sorts of work positions, so on an employee basis of around about 150 people over the course of two years would cost around about £10,500,000 to pay each and every one of them respectively and equally a division of that amount. We would also need voice actors to give our characters in this game their speech and dialogue and we reasoned that around about 30 would be good enough knowing we can have one voice actor do more than just one character, and we would pay all of them an equal division of £40,000. A team with nowhere to go isn't exactly efficient nor effective, so we need a place for them to go to actually work. Renting or buying out office spaces and getting equipment itself would all cost around £448,994.

We estimate that with all the workforce and equipment and everything being put into the game the entire cost would be £15,264,000. Yeah. In order to make up for this, we need to sell around 2,200,000 copies of the game which would give us an insane profit bonus of £216,400,000. Even if a million copies were sold we would arrive at a £21,303,000 turnover. 10% of the profit would go to the publisher, however.

LO4: Finalising - Marketing

Our marketing plan is to essentially draw as much attention to this game as we possibly can, when you see the budget and the amount we have to make back on the Costs post then you'll realise that whilst all of this may be over the top and a bit excessive, it's bound to draw attention to us somehow and someway, otherwise all the effort, time, money, blood, sweat and tears that go into this game will be null, void, all for nothing. We'll start out by making various accounts on plenty of social media sites (seriously, if your business isn't on social media by now, you're missing out) so people can find us easily and follow us even easier and keep up to date whenever something is announced, the big three that we're focusing on is Facebook, for the massive user base and personalised ads towards people most likely to buy the game, Twitter, for the same sort of reasons, excluding the ads and replacing it instead with direct replies to people who may ask questions, and then Tumblr, where we can keep a tidy archive of everything we've posted, be it updates, facts, queries, video teasers, and we can also reblog all the art and stuff we're getting from the promotional things we release and make it clear that we as developers do care about the fan base that may ensue.

Whilst it's not exactly social media we would have a YouTube account too, to release trailers and teasers and keep people up to date with actual footage from the game itself, possibly through development to the final release. We would also have advertisements like banners and footers and ones off to the side and in all sorts of sizes and resolutions when the game itself comes out so people are alerted to it's presence, or even when it's nearly coming out so people can learn more in preparation on whether or not to buy it and preorder it if necessary. In the real world, however, we decided it would be good to have things up in game retailers such as cut-outs of the characters and coming soon posters to be a physical representation, because although the majority of this world has now gone digital there are still those out there that aren't so good with it, though really our age group that we're aiming for should be online as of now anyway. Last but no least we have the limited edition stuff that may be bundled with preorders, wherein if you buy it before it's released to ensure you get a copy you can get special stuff that you otherwise couldn't if you just bought the retail version instead. Things like figures would be good, art books, accessories, soundtracks and everything else, though they could also be included in a re-release if the game was popular enough in like an anniversary collection of sorts.

LO4: Development - Music

Games are sort of like recipes, if you try and make one without one of the required ingredients things could go extremely wrong for you, so in addition to your synopsis, and your story, your graphics, gameplay, characters and everything else, you need music. Music can define a lot of factors, it can sway the player to feel a certain way during certain situations, it can emphasise something going on a lot more then simple silence, and good music is just another way for people to remember the game in their own way, hell, they might even be enough demand for a release of the soundtrack itself. The main feeling I get for this soundtrack is a sort of sombre one, just regarding the desolate surroundings, songs with almost dream-like qualities, droning and surreal music that have a somewhat calming effect despite being strange. A sort of upbeat soundtrack can work in places too, songs that aren't necessarily overly happy but are catchy enough for possibly some of the light-hearted scenes in the game, but also accounting for some of the more insane, zany moments that may pop up here and there, a full out bizarre sound selection would be good. The final main idea would be more serious, almost epic music for the boss fights, and especially the final boss too. Inspiration wise there are a lot of song choices that I would use as examples, so allow me to go over them, and be sure to click the images for actual links to the songs.

PEREGRINATION 

(EXPLORATION)

Exploring music shouldn't be too demanding for the player when they listen, if anything it should just slowly fade into the scene around them and fade out once it's done, the player only realising that it's playing when the song kicks in as to not detract from anything going on around them. Exploring insinuates a player will be concentrating on the world that encompasses them, and doing that would be slightly hard if there was music blaring in their ears. Like I've mentioned above, droning sounds and soothing songs would work good as background noise. When I use the term dream-like I think that stems from a favourite game of mine that essentially involves exploring a lucid dream world, and the music is very... unique. Sometimes soothing, disturbing, or both. Same goes for the countless fan games it has produced. These would be more downer sort of songs though, not necessarily upbeat but rather calming and happier tones would also work in maybe a post-game environment when the world isn't as deadly anymore.

RAPTUROUS

(HAPPY)

As much as it pains me to say, there isn't a lot of happy scenes that I can foresee happening in this game, the entire thing is dipped in a vat of bitter sweetness and the only gratification I can find popping up anytime soon is the ending when at least one major threat has been defeated, but the world is still in ruins, people are still divided, and even though the roses are now purged from this realm it doesn't stop another adversary rising from the ashes to take it's place. I do intend to use bittersweet and borderline happy-sad music, so that's something, yet an entirely happy music track would be quite rare indeed. It can happen, though, because without it the player wouldn't feel satisfied at all whatsoever with what they're doing and it doesn't entirely give that much incentive to carry on playing should a player not feel rewarded for what they're doing.

 

 

MELANCHOLY

(SAD)

I have no doubt that there will be some sad scenes within the game, though sad songs come in all sorts of varying forms, honestly. You can have sombre songs, or bittersweet ones, absolutely depressing ones or some that are just bordering on the line between being absolutely fine and neutral with an undertone that something isn't quite right. Sad songs are really hard to define but I would lean more towards a bunch of happy-sad songs throughout most of the game to further perpetuate the lost cause these people feel in this destroyed and dying world, though somehow they find the will to carry on, and then when something truly horrible happens it would make the more whole-heartedly downer tracks more effective if they played instead of what the player may be used to. Sad songs have to evoke emotion, otherwise they wouldn't be labelled as sad, so they have to fit the theme of what's going on, less they risk losing a reaction from the player otherwise.

INCONGRUOUS

(STRANGE)

There's no doubt that there will be some rather bizarre scenes in the game considering the nature of it, with people and monsters with strange designs all roaming around, and some of the locations may possibly be weird too. Strange music in game is rather hard to try and fit in to a definite slot because so many games utilise wacky music differently. In some games the entire music for just one level is zany because the level is designed with that in mind, strange music can also lean towards being creepy and dark, and likewise it can also be jazzy and quick, too. Creepy and strange would possibly be the best music choice here to fit into my game, but the more lighter ones could also work regarding some of the more lighter scenes of the game, or perhaps one track in particular could play when a certain character appears.

TREPIDATION
(FEAR)

Fear is a very powerful emotions and yet it so blatantly abused with games now that it has lost all credibility. I'm not talking about cheap jump scares and the ability to churn out a clone of an already successful horror game because that's the easiest option, I'm talking about the deep rooted horror, the type that messes with your mind and warps your surroundings. I'm talking about the kind of horror that makes you sleep with the lights on, that makes you flee up the stairs, that plagues your mind after you've experienced it. Music can sincerely do that, and what makes it even better is that with music, you usually have no visuals to go along with it. Your mind fills in the blanks with your worst nightmares and the music steadily influences that throughout. Horror isn't a massive theme within my game and yet some parts will be considered disturbing by nature. Fear is another highly subjective thing and not everyone will be scared by the same thing, but I usually find distorted sounds aren't appealing to most people, and foreboding music has the possibility to make people tense and panic.

  

 

CONFLICT

(FIGHT)

Considering how much players will be wandering around the wilderness they'll often encounter things that aren't so friendly as to simply let them walk on by, and these things will attack, either that or warn the player off before they do should they not get the message loud and clear. Enemy themes do often get recycled as do the enemies themselves but it's pretty commonplace for the themes to change depending on the area or possibly the enemy too, so you aren't stuck hearing the same thing over and over again. Usually these songs are upbeat to herd the player towards taking them down quickly so they can carry on and not let the enemy hinder them, but again, depending on the game and style, that can change dramatically. Some enemies can't be defeated and must be avoided, and some enemies are often ones that chase, stalk, and do other such things that would ultimately change the mood of the song that plays when they decide to give the player some attention.

OVERSEERS

(BOSSES)

Bosses are overwhelming things in games, set there in the players way to act as obstacles that the player must then use everything they've learnt up until that point to destroy and overcome before carrying on their merry way through the rest of the game. The bosses in this game are essentially puppets to an otherwise rather pretty looking parasite, but they're still huge, they're still deadly, and they will pose an extreme threat. Boss themes have to be different to normal battle themes to match the unique feeling most bosses give in games, where enemies will be recycled throughout the entire game, bosses are usually a one off, never to be fought or seen again. Depending on what sort of boss it is, however, can affect the theme that plays. Most boss themes do add a sense of urgency into the player knowing that the opposition can and will kill them, though some themes take a more sinister route, or sometimes even a more upbeat selection to entice the player to move it.

 

RESOLUTION

(FINALE)

The end. After the player has gone through all the turmoil and the ups and downs to get to this point, after the hours and hours that they spent, they need some sort of pay-off to end all of this once and for all. It has to be epic, booming, tense, exciting, all of these things thrown into a pot and then perfected in order to create a memorable final battle theme, that the player won't get sick of hearing after the tenth time they've died, that the player feels encouraged by, but also intimidated. Usually such themes are orchestrated but there are other good alternatives. Themes which are quite heavenly when you may be fighting something that seems otherwise I find tend to work well with that contrast, and quick, foreboding and otherwise rather unnerving themes also work, too. All in all I think the final battle theme is one of the most important song choices in the entire game, as everything during the end is anticipated, and it would not be wise to disappoint your players.

LO4: Legal and Ethical

• Legal Constraint - Anything bound in law is on this particular side.
• Ethical Constraint - The morals and actions of the situations or the characters within the game; are there any questions raised?

Legal

I can't really think of anything within our game that would go against any legal constraints, hopefully all of the content would abide by them. I wouldn't want to get into any trouble by them.

Ethical

Bad language, maybe? I don't really think there's any ethical issues within our game right about now, nothing seems to stick out as being something that could raise questions. It is rather dark in nature, I'll grant you that, but there's nothing outright there to disturb you. The majority of the game you're fighting gigantic robot monsters and even when you do get to fight people they're not organic anyway, but I guess some people could raise this and say that even though they're not biological beings, the depiction of killing them is the same. Gore has become common-place in games and media now anyway, so it's not exactly a massive issue, but I guess it can cause some concern with people who don't really enjoy or like seeing that sort of thing. The only other thing I can potentially think of is our main villain, whose backstory in a nutshell is that his mind has been affected so much by a parasite in his body that he's essentially been brainwashed into eradicating what's left of the 'human' race. I'm skeptical on whether or not to call it a mental health issue, the situation isn't something commonplace in this world and the proportions of his torment have been stretched to exaggerated length due to the world and setting around him being one of fantasy, of things that don't exist in our world. If it is seen as similar to a certain mental health issue, however, we're gonna have to take our time to represent it in a realistic light.

• Copyright Constraints - Anything owned by something else that restricts you from using their content in your products.

Copyright

I did want to base one of the potential boss ideas on or around the concept of the Mad Hatter from Alice in Wonderland, so I'd have to get permission to even do that, I suppose. Perhaps music if it's decided that we want to add in licensed music either to replace or put in alongside our own original music, and then we have easter eggs, too, which are very common in games now and are a really nifty little ideas. Mainly they're always referencing something else, but it's best if you don't outright copy what you're referencing and paste it into game. Subtlety is key.

• Obscene Publications Act

Obscene Publications

No.

• Liable and Slander - Saying, writing or creating an image about something about someone, no matter what, that may cause emotional damage in the eyes of the general public.

Liable and Slander
None of the characters within our game are based on anyone in real life, and I doubt that we'd have anything to say about them, either. It's based in an entirely fictional world, and the only reference to our world that I could possibly think of including would be things like easter eggs, but they're generally light-hearted, not at all trying to mock or harm anyone by creating such an image.

LO4: A Developed Idea

DUST

(WE'RE JUST ROLLING WITH IT)

"In a world riddled with dust and decay very little life is left on this earth, the ground cracked and scarred, the sky cold and dark. The last remaining population of humans have gradually replaced their biological limbs with mechanical apparatus over the years they have been left to suffer, and congregate only in the small, rickety outposts that mark the null, endless desert. Resilient at best, the poor bastards hold out for even the slightest hint at a better life, until one day, one fateful day, it seemed their prayers were answered. Dancing, prancing and singing with joy, a curious show rolls into town, chanting to all those who would lend them their ears to join them in their delight. There's just one problem though. 

Roses.

Though once they were harmless, beautiful and forbidden, the plants seem to have taken a more sinister toll.  Their parasitic nature has lead them to become an icon ready to be feared, and the sudden appearance of this fools parade alongside the increasing growth of the thorned leeches has more than a few people suspicious..."

In a nutshell the concept of our game is the typical standard affair of taking control of a protagonist in order to stop an antagonist from doing something typically insane that'll surely bring around the end of the world as we know it. Whilst the characters themselves are in development at the time of writing the story centres around this potential hero going against a band of villains that plan to spread this potential parasite around the world to make it 'beautiful' again, unaware that they're practically turning everything around it into a potential hive-mind for an enemy even greater than themselves.

I am going into go into detail about certain major characters on separate posts, don't worry, but for a quick overview we've got the main character, a set character, who can be accompanied by lesser, more so secondary characters should the player choose to have them accompany them during their adventures (careful though, they may die!). There's the main villain, too, as well as a few lesser minions of his which you will encounter through the game. Giant robotic creatures which act as bosses are found within the game, too, and there are countless NPC's to interact with. We sort of thought that maybe depending on how you react and respond to certain events during the game it could shape what NPC's think of you, like a sort of disposition gauge, and in turn it'll have either consequences or benefits on what happens in the story.

We also came up with the idea that because people need to replace their limbs with robotic ones to survive in this potentially volatile land, there's a big divide between those who are willing to give up their humanity and those that aren't. People who are fully flesh and bone consider themselves to be pure and are willing to die to stay this way, whilst those who are converted fully into robots will label these human elitists as insane and childish. People who are halfway there to being fully converted, bio-mechanoids, are stuck in the middle of this clash. Concerning our main protagonist we considered making him a bio-mechanoid so they wouldn't be biased when it came to the whole divide between those human and those not. Their appendages are robotic whilst their head and torso are organic. Taking into account there are no bones in their legs or arms, what's left of their skeletal structure is the original bone, although there is a slight spinal brace to it to steady his body with the sudden weight and power of these mechanical limbs. I had the idea of his internal organs being mechanical yet his brain, eyes and heart are organic, but it's not decided for.

The world we created for this game is a desolate wasteland (sort of the inspiration for the name) where little to no life lives. I came up with the idea of calling it Eden to contrast the popular belief that the garden of Eden is a beautiful place, creating a lovely contrasts of sorts. At this moment in time the various settlements in this world are unnamed, but they are all different from one another in some way. The actual environment of Eden is extremely hazardous and all sorts of obstacles make sure that travelling in the desert is always a struggle to survive, things like gorges, tar pits, extreme temperatures - both hot and cold - make it a chore. Most of the time though it's an endless expanse of dirt for as far as the eye can see, and the mild wind mixed with little to no colour and life leads to a very numb existence.

LO4: Moodboard