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Choosing a camera for a 3D game is a huge challenge, because cameras can serve gameplay and aesthetic goals at the same time. What happens when these goals clash?

I'm off to Sweden today for a talk and a quick break. But didn't want to go without giving you a new video! Enjoy!

Mark

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The Challenge of Cameras | Game Maker's Toolkit

Choosing a camera for a 3D game is a huge challenge, because cameras can serve gameplay and aesthetic goals at the same time. What happens when these goals clash? Support Game Maker's Toolkit on Patreon - https://www.patreon.com/GameMakersToolkit Have Mark talk at your studio, university, or event - https://gamemakerstoolkit.tumblr.com Sources Evolving Combat in 'God of War' for a New Perspective | GDC Vault https://www.gdcvault.com/play/1026085/Evolving-Combat-in-God-of The Challenges Of Remaking A Horror Classic Like Resident Evil 2 | Gamespot https://www.gamespot.com/articles/the-challenges-of-remaking-a-horror-classic-like-r/1100-6459995/ Games shown in this episode (in order of appearance) Super Mario 64 (Nintendo, 1996) Furi (The Game Bakers, 2016) Call of Duty: WWII (Sledgehammer Games, 2017) Street Fighter V (Capcom, 2016) Super Mario 3D World (Nintendo, 2013) A Hat in Time (Gears for Breakfast, 2017) Uncharted 3: Drake's Deception (Naughty Dog, 2011) Alien: Isolation (The Creative Assembly, 2014) The Sims 4 (Maxis, 2014) Killer7 (Grasshopper Manufacture, 2005) Shadow of the Colossus (Team Ico, 2005) Resident Evil (Capcom, 2002) Resident Evil 2 (Capcom, 1998) Hellblade: Senua's Sacrifice (Ninja Theory, 2017) Resident Evil 2 (Capcom, 2019) Tomb Raider (Crystal Dynamics, 2013) Gears of War 4 (The Coalition, 2016) Metro 2033 (4A Games, 2010) Uncharted 4: A Thief's End (Naughty Dog, 2016) God of War (Santa Monica Studio, 2018) God of War (Santa Monica Studio, 2005) fFor Honor (Ubisoft Montreal 2017) Dark Souls III (From Software, 2016) Devil May Cry 5 (Capcom, 2019) Metal Gear Rising (PlatinumGames, 2013) Days Gone (SIE Bend Studio, 2019) Marvel’s Spider-Man (Insomniac Games, 2018) Vanquish (PlatinumGames, 2010) Nier: Automata (Platinum Games, 2017) Batman: Arkham Asylum (Rocksteady Studios, 2009) Bayonetta (PlatinumGames, 2009) Resident Evil 4 (Capcom Production Studio 4, 2005) Resident Evil 7: Biohazard (Capcom, 2017) Half-Life (Valve Corporation, 1998) Mirror's Edge (EA DICE, 2008) Dead or Alive 6 (Team Ninja, 2019) Arms (Nintendo, 2017) Tony Hawk's Pro Skater 3 (Neversoft, 2001) Skate (EA Blackbox, 2007) Firewatch (Campo Santo, 2016) Far Cry 2 (Ubisoft Montreal, 2008) Sonic Forces (Sonic Team, 2017) Ico (Team Ico, 2001) Music used in this episode Spades - Blue Wednesday (https://soundcloud.com/bluewednesday) Resident Evil 2 soundtrack - Capcom Hotel Administration - animeistrash Another Version of You - Chris Zabriskie (https://chriszabriskie.bandcamp.com)

Comments

Aadit Doshi

Yes! good topic! Can't wait to watch it after work

Anonymous

A lot of top-down multiplayer games where you have to share the screen does this terribly, especially twin-stick shooters like Helldivers, etc. This sometimes causes you to get stuck in the environment because the camera has zoomed out to the max while the rest of your party has gone off somewhere else. Divinity Original Sin 1 & 2 solved this beautifully by turning it into split-screen whenever you went too far away from your companions and then merging the screens back together again when you closed the distance. Thanks for another great video, Mark!

Anonymous

The Lego games used to have that problem but eventually added a split screen, plus the split would rotate to try to accommodate things rather than just be completely vertical or horizontal. It wasn't always executed well, but for the most part it was helpful.

Anonymous

I loved the camera control in Nier Automata (shown briefly in this video). Lots of auto-camera changing the context between a 3rd person fighter to a side scrolling fighter. Also complemented in part by the context-switching to bullet hell sequences.

Anonymous

Major hard disagree on the criticism of God of War's camera. Forcing the close-up view is almost a mechanic of the combat, and having to make sure you're not caught unaware is as much a skill you have to learn as, say, figuring out the best move for each situation or learning to parry. It felt an intentional design decision and the game's combat felt designed around it.