On the flip side, we also had to incorporate the new features of the Xbox One, and for us that meant supporting Kinect and SmartGlass. We decided to open up several corners and ends of the world to make the driving experience better, now that we could stream more content at a faster rate. It also gave us more memory to work with and a faster processor. First of all, everything that had been completed for art needed to be re-created at higher resolution, which was awesome for the visuals. This impacted the game in a good and a bad way. The game was set to be released in Feb 2012, and we were all working incredibly hard to make that happen.until one day we were all called into a meeting in which we got told that Microsoft wanted to partner with us and make Dead Rising 3 a launch title for the Xbox One. Over the next 9 months, the level designers hammered on adjustments that needed to be made for cinematics and missions, as the story had several amendments made to it. The revision of these metrics and the inclusion of a new set of metrics for driving resulted in a chunk of pre-production devoted exclusively to making the player's experience of world traversal a smooth one. 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.
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