Ultimate Game Design : Building game worlds
Ultimate Game Design : Building game worlds
Ultimate Game Design : Building game worlds
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
<strong>Building</strong> <strong>Game</strong> Worlds<br />
50<br />
U L T I M A T E G A M E D E S I G N<br />
gazillion units. So let’s ride that premise and do something just like it ourselves but different so we can<br />
make money off of it.” I’d like to see more diversity in the gaming experience.<br />
TM: <strong>Game</strong> design is a competitive field; how does one diversify and prepare?<br />
JK: Know what <strong>game</strong>s are out there. Develop an intuition about those <strong>game</strong>s, where you can play it<br />
while also having a critical mind. You can spot the weaknesses and strengths of each <strong>game</strong>. Bruce Lee<br />
once said something that I still use in my life. He said something like, “Absorb what is useful; reject<br />
what is not; add a little of yourself and make it your own.”<br />
TM: A powerful statement. You performed as a fight coordinator for many <strong>game</strong>s. Now you do<br />
fight coordination for TV and film. Can you briefly talk about the process for each?<br />
JK: In film, I get with the director. I ask them what type of a fight scene they need for the scene,<br />
whether it be comical, serious, etc. I read the script and learn more about the characters involved in the<br />
fight. This way I can tailor the action so it will complement and support the characters. For example,<br />
if the characters were emotionally distant, I would not have them do any grappling or close-contact<br />
fighting. Unless it was part of the story or character arc, I’d keep them at a distance and fight with<br />
Korean style kicks, long jabs, and crosses. So, once I find out what characters are involved with the<br />
fight, I put together a fight in my mind to visualize how the different styles will contrast onscreen. I<br />
also have to find out how the characters will change after the fight.<br />
In order to make a fight scene effective, you have to start with one emotion and end with a<br />
different one. By the time I meet with the actors, I have a general idea what is supposed to happen.<br />
When I first meet with the actors, I run them through a basic workout to assess their physical skills. I<br />
can tell within the first five to ten minutes if they actually live in their bodies or their heads. If they live<br />
more in their bodies, they are usually easy to train because they have all their sensory skills turned on.<br />
If they live in their heads, it’s an uphill battle because this type of person uses only one of their senses,<br />
and the mind-to-body connection is not communicating properly, or is too slow. About one out of three<br />
people live in their heads. By the first meeting, I usually have them understanding a basic version of<br />
the fight. My goal is to have the actors feel good about what they are doing. Then, by the time we get<br />
to filming, I have to make sure that they are in the moment with the moves, because they might have<br />
been practicing the moves so much they do not look natural and spontaneous anymore. That’s how I<br />
generally work with actors or stuntmen on a fight. There are much too many other details that I have<br />
left out; these could fill a thick book.<br />
In <strong>game</strong>s for motion capture, I have to audition the martial artists and look at their basics to see if<br />
they have a solid foundation and structure with their art. Then I see how they react to punches and<br />
kicks. Then I see them put together a combination of moves and see if they are able to flow from one<br />
technique to another. When you do motion capture, it gets really repetitious because you might have<br />
to do the moves over and over again. Fortunately, the danger factor is pretty low here because I only<br />
have one person do the moves at one time. The only thing that sucks is that you spend a lot of time<br />
capturing all the moves for the motion capture camera. In film you do the stunt a few times<br />
(depending on the stunt), then you leave.<br />
What I don’t like about the <strong>game</strong> industry is the hours are pretty hectic, but you do not get to reap<br />
any of the benefits once the <strong>game</strong> is finished. In film and TV, we have SAG (Screen Actors Guild) and<br />
AFTRA (American Federation of Television & Radio Actors) that protect us, and we get residuals every<br />
time an episode or show airs on TV. You don’t have anything like that in <strong>game</strong>s. The only thing you<br />
might get that is close to it is a bonus check.