I've been thinking about this a lot, trying to figure out what needs to carry over and what doesn't.tlaero wrote:Would it be possible to limit them to the range 0-51? If you did that, it would be easy for us to encode one character per variable. That's still a 250 character string, but better than a 750 one. Bit packing the achievements is easy too.
Still, I think you've got too much state to effectively make a string for your users to cut and paste. Is there anything you can do to reduce it? From one game to the next do you really need every detail about the previous game? Realistically, couldn't you have a variable saying which NPC you're making progress with and how well the player did? Even Mass Effect didn't carry over all that much state from one game to the next.
And, if you're going to have 3 games, make 3 separate sets of achievements that don't carry over. It's really rare for you to need to have played game N-1 to get an achievement in N. I know you're thinking of this as one game told in 3 acts, but you really should think of them as standalone sequels.
Tlaero
Regarding the achievement carryover, I'm undecided on whether to carry them over to act 2, or make each act independent. I'm not personally a huge fan of achievements myself, but am including them primarily for those who are. One of my friends, for example, is so motivated by achievements that his wife finally got him to help out around the house by giving him achievements that translate to gold stars on a board. Vacuum = achievment, do the dishes = achievement. After so many "achievements" he gets beer money and a night out.
![joyeux [img]images/icones/icon14.gif[/img]](./images/smilies/icon14.gif)
I just returned from a business trip that took the second half of last week, so I've had time to think about different strategies for minimizing what needs to transfer between acts. Mass Effect is a good example since that is also a game where things that occur in the first game have significant effects in the second and third. My difficulty is coming from distilling what is really needed from Act 1, and what isn't. Ultimately the intent is for all three acts to meld together in a seamless experience that can be played from start to finish, but thinking about them as standalone sequels is helping. Keeley 1 and 2 melded together very well, and they originated as standalone games, after all.
Back on BEW, there are some achievements that are specific to the acts, and others that span all three acts. I could strip the overarching achievements out and just limit achievements to each act, but much of that undermines the overall achievement design I created. I definitely need more thought on this topic, although if it's easy to bitpack them then it may be moot. Still more thought is needed here on my part.
Regarding the actual game variables, it's probably not realistic to limit them to values less than 51, many of them, yes, but not the relationship values. On the other hand, the more I think about it, the fewer variables I can think of that will be needed to transfer between Acts. Each love interest really has a maximum of 3 variables that need to transfer, but really, only 4 of the interests are active at the end of Act 1. Basically those variables are the visible relationship, hidden relationship and status. Using Emily as an example, those variables would be a calculation of ehappy - eangry, earoused - ethreat, and brade. That could give a result like 62, 49, 14. Although, it may be possible to reset the relationship and just take the status to carry forward and start all the new calculations at 0 for each love interest when it comes to the relationship value. That means just the relationship status (brade in the example) needs to carry for each of the four active love-interests between Acts 1 and 2. That number could be less than 51, since there are less than 51 status possibilities at that point, or any point really.
There are some downsides to resetting the relationship values for the overall game though. One of those is that it lessens the impact of decisions made earlier in the overall story.
Act 2 concentrates primarily on two love interests, with one or more of the original three coming into the picture during the last third of Act 2. Essentially, Act 1 has 3 romanceable love interests, and the 4th is present but not romanceable. Act 2 has numbers 4 & 5 as romanceable as well as whoever the player succeeded with in the first act, if any. Finally, Act 3 reconciles the results of Acts 1 and 2, to conclude the story.
Wolfschadowe