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Hannes821

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About Hannes821

  • Rank
    Zealot
  • Birthday 10/07/1988

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  • Gender
    Male
  • Location
    germany
  • Interests
    Skyrim, Atmora

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  1. Rigging and exporting meshes in Blender 2.7

    you are the best Opus ;-) let's get all tutorials updated! thanks for the notification.
  2. hey mo, how are you?

  3. Moders for expedition to akavir mod

    your invite expired. I once had this idea 2 years ago as well but dropped it for atmora. It's a great vision you have there, but there are many challenges ahead of you. maybe you can take some inspiration for the concepting phase from the old forum I started http://akavir-calling.freeforums.net/ whish you the best, but don't underestimate the workload! If you have questions, you can ask me, but i will be too busy to contribute. cheers
  4. Hello everyone! As you might have noticed, my attempt was to clean and polish our tutorials. I wanted to bundle them, so there is a convenient way for all Skyrim modding community members to access them in a condensed and organized way. Most content is from our members and teachers and external supporters. Of course, this is a work in progress, as details can be wrong or outdated by chance, and people add information or feedback on what should be included as well. This is the link: https://beyondskyrim.org/tutorials/ Note, that we are also currently planning to redesign the website, so the link may change, but the content should be permanent. And, we (in the name of the Arcane University and BS) would be super happy if you can give us more feedback, pin any problems or errors you find or give additional information. Because that is, what makes our open international modding community so great. Thank you very much! Also, if you would like to get in touch with us, here the direct link to our discord platform, where we are available: https://discord.gg/Byqv2Ym You can freely join and train there and get feedback, but keep in mind, the purpose is getting you fit enough to work with us on Beyond Skyrim projects. Thank you for your attention, and have fun and stay creative! Thank you again to all the great people that teach and write tutorials in our non-commercial training group! This would not be possible without you! You are the best! current headmaster
  5. Open Lore Questions - Whats your opinion

    that is a concept specific to a different region, and if you have the background and everything done (and some things still planned) for Atmora in mind, I am skeptical that this would fit. It would be applying something *snow* related out of a different context (like snow elves) only because it has "snow" in its name and Atmora has a lot of snow. But then, if we tell our story and show our world, I think it will become obvious that these creatures don't make much sense there. But thanks for your interest!
  6. Application

    Hello DragonHeart, now your application isn't very specific for Skyrim, but maybe you can apply your knowledge to a degree that makes you quickly work well with the kit. We can give it a try if you want. have a nice day
  7. Application : Level Designer (JustSam)

    Hellow Sam. we might take a look and maybe it works out. LD is never perfect but it does look like a very solid fundament to build on. Lets see what we can do together! have a nice day.
  8. Application: LevelDesign (Interior/Dungeon)

    Looks very impressive on first sight, I think you will be welcome! Let's have a look what we can do.
  9. Level Design Complete (Assumes no Experience)

    a hint: at the start of this tutorial it is suggested to check "undelete" with ts5edit for cleaning. This means that everything you wanted to delete in the esm you are using, will be "undeleted in your esp". Your esp does not have the permission to directly delete things in an esp (this could mess up things for your teammates at merge later). So, what your esp does is, it flags an esm record as "deleted". And that flagged record will be deleted during merge, as it is assumed, that during merge you check conflicts with tools like TS5Edit and manually decide which things can be thrown away and which are needed. So, if people overhaul for example a mountain range that was previously only a rough layouting template, a sketch for LOD, they will be forced to delete objects of the recent esm used, and my that, automatically using "undelete" when cleaning their esp before sending would annihilate their efforts. Or in other words: everything you tried to delete in the esp from the esm would return, and you would have 2 mountain ranges stacked into each other at once.
  10. Application: 2D Concept artist

    nice work!
  11. Regions and Landscape of Thras v3

    Well, or these Yoku spirits are your quest givers, depending on your direction of the story. I mean this could give players a choice and double the fun, but of course, also require more voice acting and implementation etc. Probably you can give the Yoku spirits the ghost shader and Alikr equipment?
  12. Landscape of Thras

    cool! you can achieve better results with a low coverage of the shader and a very contrasty normal map height I think.
  13. Polzynn concept art

    Sorry if I take up an older aspect of this conversation. Lorewise Dwemer work with tonal magic. So maybe its more interesting to have power crystals that heat up surrounding water in steam pipes until certain frequencies are reached that bend reality (old magic) instead of creating illusions (new magic). you can find this aspect in Skyrim and with many very primal forms of energy like Thuum. this would be very easily used by a submarine. Overall I think if you include it in Thras we have some connection to the topic in our mod ;-). Polzynn, did you take some inspiration? ;-) it's alright though and it would be cool to see this implemented right.
  14. A very valuable member of Atmora. Thank you very much for a lot of hard work and good cooperation! 
    Your level design is very good. Keep up the good work!

  15. Writing for Exposition and Dialogue

    1) What is Exposition and its general purpose Exposition is the direct dialogue that carries the narrative. It should be split into slices to make them digestible most important info at the end of a dialogue just one piece of important information at once (per dialogue) the type of information chronologically gathered should follow a logical order characters presenting this information should have valid reasons to give them “The general purpose of dialogue is to move the player forward!” -> Dialogue does not offer the space to tell a background story in general. (for reference, minute 4+ in this video) “Let me tell you how our people started in stone age…” the writers history encyclopedia issue, player reaction: fall asleep “The evil empire killed all good people...” the oversimplification issue, player reaction: will feel how artificial and generic the story is “Dragons used dirty bombs and nuked our battle mechs with Magicka” the PR-exaggeration issue/ commercial keyword issue, player perception: artificial, unimmersive overcooked story “Once in the days of old, we captured the Mines of Moria, and Whiterun, and….” the lead level designer showing off random unrelated locations in the game issue, player perception: what a bulk of irrelevant information -> fall asleep “Oh, and when you go there, gather 20 Goblin skulls for me!” the Quality dep realized emptiness before shipping, adds random things issue player perception: its generic, artificial and unpersonal and unimmersive 3) The primary purpose of Exposition What is happening? What do I do? Where do I have to go next? Use Exposition? purpose example must plot-critical info "This Dragon will eat Nirn!" should in-character motivation "This dragon killed your father!" could additional lore and realism (optionally, only if not breaking game flow!) "How did we find out that he will destroy Nirn? Well, ..." should not irrelevant / stopping game flow “Let me tell you about the life cycle of dragons...” 4) The secondary purpose of Exposition Codex (encyclopedia) ingame books (journals, books, scrolls...) ambient dialogue (if the thalmor spy would say something to a guard when you visit him; you could overhear it and go on or stay and listen) optional questions (How did you meet character a, character b? -> above, category 3, could) environmental storytelling (level design and graphical design, music...) auxiliary products (card games etc, not for us) 5) Working with a complex background story To avoid getting stuck in details, the only way is to analyze the relevant key pieces of information and to serve them in bite-able chunks where it is necessary. example: the ancient crown went missing has elven magic the elven kingdom was west of where you are it was destroyed by a war with the goblin king -> the player only remembers one last thing in each dialogue. 6) The strategy of breadcrumb trails What (motivation) or: know about the crown Why (connection) or: realize there are runes with elven magic Where (location) or: find a scholar who can translate them How (method of interaction) or: read the runes yourself 7) Pitfalls using the Bread Crumb Trail 1) “Maybe the Elves know something!”... Problem: Player has no idea where the next NPC is and how to proceed with the story. Their perception is not: “Wow. this is challenging, I should keep trying…” but rather: “Your game does not work, it is broken and it sucks.” “go there and do this” -> pack it, so it does not appear as the designers manipulate the player in a certain direction but rather like “you have this choice, and there will be your reward”. (Quest Objectives) 2) “Let me tell you a story”… Problem: irrelevant information gets ignored and disturbs the game flow. (check the 4 W’s about Motivation and Hook up above for better use) 3) “Red Herrings” Each bit and piece of information is expected to be relevant and important; giving irrelevant information (and having the player remembering it without reward) will make him frustrated. Player perception will not be “Oh, I was stupid to try that and go there.” but rather: “Your Game is broken and it sucks.” 8) SHOW EVERYTHING, TELL NOTHING (or: how to pack exposition in the game) "Exposition is the bitter pill to swallow information; Characterisation can be the chocolate coating to make it more appealing." a) Speakers Position, Style, and Perception Framing the Exposition with a believable character -> the information given must be an integral component of the characters own life story. You should not be able to replace a character by a road sign “bandits this way!” - then, something went horribly wrong! Ask yourself, what would the characters say, if it was themselves? Consider topics of their environment, daily life, and social group, plus their unique character. b) Speakers Messages (Subtext and Analogies) The subtext is raised out of the worlds background, Plot, the Character, and his/her feelings. The example below from a scene we all know: See, why scene 1 is good, and scene 2 feels “off” because of the perception of Han Solo’s Character we all have? Analogies Whenever you can package Exposition in an analogy using consistent terms of a world, you can avoid making an “artificial, top-down birds-eye analysis” which would break the immersion of the scene entirely. Also, analogies can be understood subconsciously and quicker and be remembered longer, using metaphors and pictures. Example: Do not say “you need to explain to them their feelings” but rather “tell them, this is normal, this is your anger, and this is your happiness.” It will get one level closer to the reality of the recipient and less meaning is lost in translation between implied message content and the receiver level. You do not exactly say what you mean, but portray it. making it more impressive and lasting. This applies only for non-immediate and non-interactive info; that info should all go in subtext and / or analogies! (obviously “run for your lives!” does not go there as it requires immediate action! ;-) ) c) About the Characters Stake in the story What is the personal connection of the Character? What are his feelings regarding the plot and other characters and the environment? Every speaker should have all of these elements: (The 5 personal ties of a speaker) something they want something they need something they fear something they gain something they loose And, of course, if possible, every actor should have each different from each other! Some should be the noble part, others the mean ones, some altruistic, some merchants,... d) How much Emotion? Like in music and painting and theater play, it is best to first give a stronger emotion, and later tune it down, the opposite way will get very hard with writing. “go there.” (how could a voice actor invoke much emotion in this anymore? ;-) ) e) The Player - NPC relation: Start considering the dialogue from both sides: What does the player want to / need to hear (for story progress)? What does the NPC want to / would be willing to tell, and what does he/she usually think of? “A Janitor is more memorable than a commander, because he has a more personal relationship to his environment, and not all of his character is filled by his assigned role.” “Characters who are not as we expect them, like a commander who is not a fierce strategist, or a janitor who is actually a warrior, are memorable and noteworthy and have character; but the general dummy characters based on stereotypes are killing the credibility of your story.” Exposition is telling. -> direct dialogue The characterisation is showing. -> show emotional reactions on events and plot! example: You don't say “he hates the empire” but you find out he was imprisoned and later after a battle that he is in the secret resistance. You can and should split this information over time. And do this for all relevant characters, as space of the game plot allow it. Then you come to the point where the player asks themselves “What else might we know about a character?”. The player will start guessing what kind of person the character is, and most can be left vague, but it will be an interesting actor. Stereotypes Nobody wants to see the stereotypical actors. The blonde cliche women, the idiot boy, the super hulk, ...rather do some research on the roles of your actors and their possible background and social relations, but most importantly, besides their official roles and their self-understanding, imagine them as human beings. Credible humans are, in doubt, more convincing than perfectly sketched actors for their “roles” who lack any character. That means, in doubt, give your characters 60% persona and individual character that might even conflict with the role their environment puts them in; and for the remaining 40% try to get a good idea of what role this character players play in their world. Some personas might support their roles, as having chosen them, others might not. Summary: small info bits dialogue should be the solution to a players problem the characters who deliver the dialogue and the way of speaking should be carefully considered try to “get in the head” of the speakers do it like for a musical, the time horizon of an RPG is similarly short and fluid remember that you have a tiny amount of time to place information in a fluid and dynamic game environment thanks for your attention! please send feedback and criticism my way! ;-) have fun
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