Su Li expects his second title, Into the Mists 2 - Unreal City, to take 3-4 hours to play, and will add a full collection challenge to the game, which may be increased to 10 hours or more if the goal is a full collection challenge.

Of course, this game time includes the player's failure to break through the level, and Su Li intends to design a game with a higher level of difficulty, and the player may need to try many times to be able to pass a small intersection.

This greatly reduces the burden of production.

Nowadays, difficult games are also quite popular among some players, and some game types are bluntly said to be "suffering", and players gain a strange pleasure from failure after failure......

Su Li didn't plan to design the game so perverted, and a few appropriate failures can increase the player's sense of joy and harvest when passing the level.

Of course, if there is a master who can clear the level in one go, maybe the game time is only ten or twenty minutes.

Such a game length is more than enough for an indie game with a low price.

But even such a playtime is amazingly large.

Su Li's envisioned 3D scenes, if the current production method was followed, the amount of art work required for these modeling alone would be enough to overwhelm him.

However, in the Oasis engine, it gave Su Li a shortcut.

In addition to the main program of the engine, the system also gave Su Li a series of giveaways. The Oasis engine does not directly support most of the existing footage formats and needs to be converted. The algorithm used in this new format is able to greatly reduce the size of the footage without compromising the quality of the footage.

In other words, the assets designed with the existing tools are far from the upper limit of the quality of the new format, which is the format of the game of the future.

Naturally, the software used for the production of art materials also appeared in Su Li's computer, and this software, named 3DF, can not only convert existing materials into formats, but also directly perform 3D modeling from them.

Compared to the simple main engine, this 3DF software is much more difficult to use. The version of the software is the same as the Oasis engine, version 0.1, but it is also much more complex and complete than the 3DMAX and the like that Su Li used to use.

If you use this software for professional artists, you will be amazed at its power. However, for Su Li, those convenient functions for non-professionals are what he needs most.

For example, the intelligent material replacement function has helped Su Li a lot.

The software comes with a lot of materials, different art styles, and many different styles of architectural models. Su Li speculated that these materials and models might have been collected by that information life from different civilizations.

Of course, these materials and models are very simple, and they must be scoffed at by professional artists, but for Su Li, it is a matter of relief in the snow.

For example, Su Li only needs to draw a few simple lines, or make a simple model, which can automatically fill in the material and automatically add some details to the model.

For example, Su Li needs a column, so he only needs to make a cylinder, and use the intelligent filling function to get a model of the column with various details.

It's not fine enough, but it's definitely enough.

After solving a big problem, the remaining problems are relatively easy to solve.

Character models, UI design, scene original paintings, and BGM are all outsourced.

There has long been a complete outsourcing industry chain in China, and Su Li has also saved a sum of money over the years, which is enough to pay for the development costs this time.

You only need one character model, and the Q version of the three-dimensional character can be used, which does not require too many details and is cheap.

The Oasis engine comes with a basic character motion design system, which can be directly applied to the preset motion data with the 3D character model and modified.

Anyway, Su Li doesn't need any movements, mainly walking, running, jumping, and some actions when using props.

Although this character motion design system is relatively basic, these basic actions are still covered, if you need some complex actions or facial expression changes in the future, you can only use the motion capture system to get the data yourself, or wait for the engine to update to the new version, maybe a better way to deal with it.

Su Li directly found a channel to send a demand, and there were a lot of registrations, and when the time came, he would receive a few pictures for testing, and he could pick one for follow-up cooperation.

UI design is also directly outsourced,The UI of the game is very simple,Only need a few menu interfaces,A few buttons and dialog boxes,A prop interface and a few prop icons,The full set doesn't cost much。

The original scene needs several pictures, and the software can generate a 3D model, but it can't draw pictures, and this work still needs to be done by people.

Su Li selected a material from the software, made a few architectural models and the like to show the art style of the work, and then wrote a requirements document and sent it out, waiting for someone to come to the door.

BGM did the same, clarified its own needs, and went to an outsourcing company to complete it. The company Su Li was looking for had a cooperative relationship with him before, and directly sent the demand over.

Time is money, and these things are done through outsourcing, and the quality is much better than what Su Li does by himself.

He only needs to control the soul of this game.

The setting of this game is mainly divided into two parts, one is the city part, which is made up of various buildings, and the level design also depends on these buildings.

One is the interior part of the main building, a huge multi-level labyrinth.

The interior part of Su Li has a very mature design, which is a large level that he designed little by little when he was a student at New York University.

According to Su Li's design, the flow of this game is that the protagonist controlled by the player enters the city, goes to a tower in the center of the city, gets a key item from the tower, and then leaves the city.

In the middle of the tower is an illusory space, that is, a large independent labyrinth, which occupies 40% of the player's overall process, and if this part has a mature design, it will greatly save Su Li's time.

As for the city part, Su Li picked out a few concept art and design drafts, intending to use these as a basis to complete the entire outdoor part of the game.

In terms of design difficulty, the design difficulty of the outdoor part is several times that of the indoor part, because it involves an interesting idea of Su Li's game, and it is also the core gameplay.

In the tower's unreal space, the player will be given a key item, the space-time converter, which can be used to collect free objects called "space-time nodes".

This city is actually made up of multiple illusory space-time overlapping together, and after collecting a certain space-time node, you can use props to convert the scene into a scene of that space-time.

At the same time, Su Li added a concept of time to the game.

For example, it turned out that this was a ditch that could not be jumped over, but there was a bridge in another plane, and the bridge would appear after using items.

However, the bridge will soon collapse, and the player must rush to this place to use the power-ups before the bridge collapses, otherwise the bridge will already collapse even if the power-ups are used.

For example, you need to jump from a high place, but you will fall to your death if you jump directly, and in another time and space, at a certain point in time, a large bird will fly over and send you to the opposite side.

At the same time, you can also use this item to complete some hidden collection challenges and make the most of the limited play space.

Add in techniques such as time rewinding and a variety of smooth action content, and Su Li believes that this game is definitely excellent.

The continuous interlacing of time and space is the core connotation of Su Li's game.

As players progress through the first half of a simple action level to the second half, they will discover a whole new world.

Thanks to the power of the Oasis engine, Su Li can easily achieve situations such as the entire game space changing at the same time after using props, and the scenes in different time and space will change over time. The built-in physics engine can also directly implement things such as wall collapse and bridge collapse without the hassle of a problem.

Without the engine, the amount of work required for these features alone would have driven Su Li crazy.

This kind of level design is definitely a huge challenge for Su Li.

However, without the pressure of technical implementation, Su Li's talent in design can be unscrupulously displayed at this time, and he can completely let himself go.

But just as Su Li was immersed in the design, a phone call pulled Su Li out of his house, which had both home and studio functions.