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Crystalgate
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Need help for damage formula when using a little HP
1) That works just fine.
2) ** is used for power of. a.atk ** 2 is the same as a.atk * a.atk and a.atk ** 3 would be the same as a.atk * a.atk * a.atk and so on.
2) ** is used for power of. a.atk ** 2 is the same as a.atk * a.atk and a.atk ** 3 would be the same as a.atk * a.atk * a.atk and so on.
Need help for damage formula when using a little HP
I assume it's the enemy who deal 2 points of damage. My formula makes the damage rather low. You can replace it with 3 * a.atk ** 2 / (b.def + a.atk) and the enemy should deal 6-8 points of damage instead.
You gave the enemy 6 attack and the player 8 defense. With the default formula, the player is already reducing the incoming damage with 67% and once he hits 12 defense, he will take no damage. This will not happen with my formula though.
You gave the enemy 6 attack and the player 8 defense. With the default formula, the player is already reducing the incoming damage with 67% and once he hits 12 defense, he will take no damage. This will not happen with my formula though.
Need help for damage formula when using a little HP
I would recommend a.atk * 2 - b.def * 1. If you don't want damage to become zero if the target's defense becomes twice the attacker's attack, here's one you can try:
a.atk ** 2 / (b.def + a.atk)
Seriously though, if enemy damage goes down to zero as the player hits level 4, that's most likely because stats are growing quickly. That or you have a high defense compared to attack.
a.atk ** 2 / (b.def + a.atk)
Seriously though, if enemy damage goes down to zero as the player hits level 4, that's most likely because stats are growing quickly. That or you have a high defense compared to attack.
I wish it did not have to be this way...
I doubt enlisting other people would have helped. It does spread the workload, but it also means more people who at any time can quit or become temporarily unavailable.
I'm honestly not surprised it ended up this way. The game looked very ambitious and some blogs gave me the impression you weren't entirely sure which direction you wanted to take the game.
That said, I'm still sorry to see this happen. Ghost Shard looked fun and the characters seemed likable.
I'm honestly not surprised it ended up this way. The game looked very ambitious and some blogs gave me the impression you weren't entirely sure which direction you wanted to take the game.
That said, I'm still sorry to see this happen. Ghost Shard looked fun and the characters seemed likable.
Making the player care, not just the character
author=LockeZ
What does work on you, Crystalgate?
I already mentioned positive reinforcement. If all or at least most of the collectibles are awesome, I'll be more interested in getting the rest of them.
There are other methods that work on me though. For example, if the environment is good enough so that merely being in it feels nice, then I'm far more willing to explore it. Looking at the Zelda games, I found myself exploring the towns in Majora's Mask and Minish Cap far more throughout than any other area. The towns were simple the most interesting areas. I tend to be the least willing to explore dungeons in Zelda games, once I'm done with them I'm out. I explore the over world more than the dungeons. This is probably because the over world is less focused on being a stage and more on looking like places.
I also enjoyed exploring in Kingdom Hearts. Partially for the already mentioned reason, but also because I accomplished multiple tasks while exploring. Once you beat Hollow Bastion once, the worlds have their enemy rooster updated. While picking up all the stuff I missed or couldn't get previously, I'm also getting exp and synthesis materials which will help me at upcoming optional bosses. Note that this only works because there actually are optional bosses who warrants the additional exp and synth materials. I'm less interested in Zelda hearth containers because the ones I find with only light exploration is more than enough for the game.
In general, it's the exploration itself that's very important for me. If places feel boring, I'm not motivated to explore them even if there's supposedly treasure.
I don't think how I personally feel about things is really important for the discussion, but I think it's interesting to see too what extent players are wired differently.
Making the player care, not just the character
The trick in Zelda OoT doesn't work very well on me. As soon as I get crappy collectibles, I stop getting exited for more of them. Most songs are just there for a select few puzzles and a lot of items are as well. "Congratulations, you found boots that are necessary for certain puzzles, but are otherwise a pain to use!"
How exited I am about an ornate chest depends on how good the game is at putting good stuff in them. At the beginning I will assume they are going to contain something good, but I stop that assumption if the game disappoints. If you want to motivate me, put good things in them.
While we each are a bit different in what motivates us, positive reinforcement is pretty universal.
How exited I am about an ornate chest depends on how good the game is at putting good stuff in them. At the beginning I will assume they are going to contain something good, but I stop that assumption if the game disappoints. If you want to motivate me, put good things in them.
While we each are a bit different in what motivates us, positive reinforcement is pretty universal.
When you write, how much do you base the work, or yourself on existing fiction or writers?
Almost all of your work is based on other works. However, what you can ask yourself is how much you chop up your work.
Imagine you create a character. You have many different options, but let's look at two of them.
1) You take an existing character and give it a new name and appearance. You make a minor change to personality where you replace one undesired trait with another from a third character.
2) You take the concept of an existing character, but make it's personality by borrowing traits from multiple different characters as well as borrowing the background story from yet another character.
In both cases, the character is 100% based on other already existing characters, but the second case has the character far more chopped up into tiny bits. It's also much harder for the audience to identify where you borrowed the ideas from if you use the second approach.
Personally, I prefer a very choppy method. I also base my work pretty much entirely on fictional characters instead of real people.
Imagine you create a character. You have many different options, but let's look at two of them.
1) You take an existing character and give it a new name and appearance. You make a minor change to personality where you replace one undesired trait with another from a third character.
2) You take the concept of an existing character, but make it's personality by borrowing traits from multiple different characters as well as borrowing the background story from yet another character.
In both cases, the character is 100% based on other already existing characters, but the second case has the character far more chopped up into tiny bits. It's also much harder for the audience to identify where you borrowed the ideas from if you use the second approach.
Personally, I prefer a very choppy method. I also base my work pretty much entirely on fictional characters instead of real people.
Making the player care, not just the character
There are a lot of tricks you can employ and you can make some guidelines. However, I think that there's one skill that will be crucial; keeping track of what the player knows. You place something you think is exciting behind a locked door, but what does the player know? Does the player have any reason to think it's something exciting and not just something that eventually has to be done? If you don't tell the player what's behind the door, there are other ways to give the player the idea that it's something worth the effort. If you do, you may still need to use those other indicators. For example, letting the player know that the legendary sword of big bad evil slayer is behind the door does not necessarily mean there's something great behind the door. Often legendary swords are only slightly stronger than the best store-bought one.
You can't keep a perfect record of what the player does. However, if you create that locked door, put the legendary sword behind it and ask yourself "does my game have a track record of making plot magic items cooler than store-bought ones?" you should be able to look back on your game and answer it.
You can't keep a perfect record of what the player does. However, if you create that locked door, put the legendary sword behind it and ask yourself "does my game have a track record of making plot magic items cooler than store-bought ones?" you should be able to look back on your game and answer it.
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