How popular was Minecraft in Chen Mo's previous life?
To put it simply, it was the most successful indie game in terms of popularity and business. It was the second most sold game in the world, with over a hundred million sales, second only to the old Tetris.
Considering that Minecraft was released in 2009, there were already a lot of good PC and console games at that time. It was a miracle to be able to reach this level of sales.
Moreover, the strength of Minecraft was that it could be used in the living room, in the kitchen, on PC and console, as well as on tablets and mobile phones. It could be ported to any platform.
There was also some statistics to prove how popular the game was.
In 2014, Mojang, the studio that made Minecraft, was bought by Microsoft for 2.5 billion US dollars.
Minecraft's YouTube views are:
Over ten million players applied to Minecraft during its beta period, making it the most popular beta game of all time.
Apparently, the British military created a map of the entire British Isles in Minecraft, using twenty-two billion blocks.
Why did this game have so much power to make so many people addicted to it?
Simply put, it was because Minecraft greatly reduced the difficulty of creating a 3D object on the computer.
Actually, many people had the idea of 'creating their own space/world'. They could experience it through sandcastles, building blocks, and paper models when they were younger, and they could experience it through games when they grew up.
There were many ways to create a virtual world on the computer, but traditional 3D design software had a high learning cost, and most people didn't have the patience to learn from scratch.
Minecraft, on the other hand, allowed most people to create a 3D virtual world with relative ease.
All they had to do was stack blocks.
There was no need for materials, textures, rendering, terrain, vegetation, or particle effects. All they had to do was choose the right block and stack it on top of it.
The blocks in Minecraft were very regular, 1m * 1m * 1m. Players wouldn't get lost in the scale of the virtual world, and the finished product would be more believable.
Moreover, Minecraft wasn't just a world creator, it was also a game with a lot of content.
Porting the game to VR was a very challenging task for Chen Mo, but it was also very meaningful.
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After Chen Mo finished explaining the concept draft, everyone started to work on various tasks, especially the tech tree, art style, and derivative playstyles that Chen Mo mentioned. It was enough to give everyone a headache for a while.
After all, there were no games in this world that could be used as a reference. How was one supposed to make a game that was no different from building blocks? What should I do? How should I design the details?
This was a question that everyone had to consider carefully.
As for Chen Mo, he returned to the second floor of the experience store and started researching the rules of making VR games.
The Illusion Game Engine supports VR games, but it's different from PC and mobile games.
Chen Mo was now an A-grade videogame designer, as well as an honorary member of the Game Committee. His authority in the Illusion Game Engine was quite high, allowing him to open up sections for VR games.
When he became an A-grade videogame designer, Chen Mo had already looked through the process of making a VR game, and now he was confirming it again.
Chen Mo had previously experienced VR games such as Earth Online. To put it simply, the VR technology in this world allowed players to directly input their consciousness into the gaming pod and receive feedback.
The gaming cabin replaced traditional input/output devices such as keyboards, mice, monitors, and so on. It became the bridge between the player's consciousness and the virtual reality game world.
The gaming cabin had the ability to analyze the player's consciousness.
For example, if a player wanted to reach out for a certain item in the game, the game capsule would analyze this consciousness and convert it into the actions of the in-game character. This would then interact with the game world, and the end result would be that the in-game character would pick up the item.
Similarly, moving, climbing, jumping, attacking, shooting, and so on were all done in the same way.
In theory, the virtual reality technology in this world could analyze the player's intentions, but whether or not it could be used in a game depended on whether the game designer had the appropriate rules.
To put it simply, in a cold weapon combat game, the player could say "I'm going to pull the trigger", but after the game capsule analyzed it, it would be transmitted to the game world. Because the game world did not support such an action, the character in the game would not move and would not react in any way.
As for the specific VR game, it would depend on the designer's design, what actions it would support, and how it would operate.
For example, in the game, you are a gun-wielding warrior. You want to step on the gun, but the designer didn't design it, so your character won't move.
It sounded strange, but after playing VR games for a while, you would get used to it. (Just like in AAA games, most of the time you could only do what the plot required you to do.)
Therefore, the more actions the designer designed for the game, the more freedom the player could do in the game, the more things they could do, and the more realistic the game would be.
However, this would increase the load of the game, and the more mental energy the player had to expend.
This was one of the reasons why VR platforms didn't make RTS games.
There was no special advantage in art.
It was expensive.
Players had to expend too much mental energy, causing them to get tired easily and unable to play for too long.
For example, in a VR RTS game, the player's consciousness needed to select a certain unit and perform a certain action. In the process of doing this, they had to constantly think about battle strategies. For the player, the mental energy they needed to expend would increase exponentially.
The PC platform was different, the player also needed to think about these things, but all the actions were done through the mouse and keyboard, and many of them were subconscious actions, so it wasn't that tiring.
Therefore, some VR games would deliberately simplify the game to prevent overly complicated actions from causing mental fatigue to the player, thus achieving the goal of extending the game time.
For example, in some VR games, all of the player's' attacks' were punches, and they couldn't decide the direction, angle, strength, and other attributes of the punch. This was to simplify the game and reduce the burden on the player's mind.
In addition, in terms of perception, VR games had the ability to fully simulate the player's senses, including vision, hearing, smell, touch, and so on.
The in-game images would be transmitted to the player in the form of visual signals, the same as a normal person's field of vision, which was 124 degrees. The area of focus was about 25 degrees, which was consistent with reality.
Hearing and smell were transmitted to the player in the form of signals, fully simulating the sounds and smells in the real world.
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