Being on-foot in the alley's allowed for creepy feelings, and situations of hopelessness with nowhere to go if you found yourself unprepared.Īdditionally, the player metrics for being on-foot also needed to be smoothed out, as the rigid animation of Chuck Greene was criticized by many reviews of DR2. In contrast, the alleyways were much tighter and provided a hectic driving experience that required smaller vehicles like the fork lift in South Almuda and Motorcycles in Ingleton. It ended up creating fast paced zombie mowing experiences, and holy sh!t moments, when you crash a vehicle and find yourself surrounded. For example, on the Freeway it felt wide and open, with plenty to explore should you end up there on foot. Beyond that, different roads needed to feel different to the Player, not only to better landmark locations, but also to provided different scenarios. Everything from distance, turning, max vehicle speed, curb height, smack-able objects, garage doors, etc, etc, needed to be accounted for in the design. Since this was an afterthought with the simple driving experiences in DR2, it required an entirely new way of thinking. This change in the focus of game play space meant my first order of business would be to determine a new set of metrics for driving. It was also becoming a requirement - and let's face it - it's fun to plow down Zombie's with your car.and to have to face the problem of it being destroyed or running out of gas. The new direction for the series was mostly based around the player's ability to drive, and driving meant a much bigger world. Worked with Engineers to improve the interface and technology of Forge, Capcom Vancouver's internal development engine.Worked with Technical Artists and engineers to create tools to gather technical metrics for the game to tune data for streaming.Used data reports to make adjustments to world and mission content.Fed back on the intelligence of player metrics and data reports.Created and managed schedules with project managers/producers.Wrote best practice documents for Level Designers.Developed all player, vehicle and world metrics with the representatives in the gameplay department.High level content and placement planning.Detailed world and mission design briefs.High level world and mission design and planning.Gave regular team presentations on world development.Gave Regular feedback, inspiration, motivation and mentorship to all developers relying on world design.Was the main point of contact for all cinematic locations and world vfx.Acted as the world lead to develop overall plan for world through design documents, stories, design briefs, and of course, building grey-block environment, which included designs for audio, animation and vfx.Created presentations explaining competitive products.
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