My game, you have no right to award

Chapter 84 AI Tactics
"Well done, keep it up!"

Zhou Kuang patted Feng Qi on the shoulder, and the other party pushed his glasses and seemed expressionless, but the upturned corners of his mouth revealed his true thoughts.

"Of course, we will continue to catch up on the progress today!"

"Guys, get to work!"

Feng Qi turned around and shouted to his subordinates.

"Oh oh oh!"

"Ahhh!"

After hearing this, the employees of the planning team waved their hands in the air and made monkey-like sounds in response to Feng Qi.

Zhou Kuang looked at Feng Qi, who smiled awkwardly, then turned back and glared at them, asking them to restrain themselves a little.

Even the boss is here, he is still so frivolous.

But they don't think so. On the contrary, it is because the boss has come that they choose to turn into monkeys.

Make Feng Qi embarrassed in front of the boss.

Zhou Kuang observed everything and found it funny.

Well, morale is good!
The planning team's san value check passed.

Today, Zhou Kuang came to Kuangshi Games to check the latest progress of "Netherworld Mountains and Seas".

The main game has already reached the third map, but only the first level has been almost modified.

So he mainly tried out the first level after refinement to see what the difference was from the previous one.

After picking up the controller, the first difference he noticed was that the map was obviously more layered.

In previous map environments, various underwater rocks and aquatic plants were often randomly mixed together, and then the players were surrounded by an obviously designed area.

This arrangement of the sandbox map seems to be too inconsiderate.

This kind of layout not only makes people dizzy, but also makes players gradually numb and unable to distinguish the surrounding environment.

The current map, after being redesigned, is obviously much better in terms of visual effects alone.

First of all, regarding the map guidance mentioned by Zhou Kuang before, Feng Qi has already brought his team into the game.

Previously, players could easily get lost in complex terrain, and in order to maintain the realistic graphics of the Unreal Engine, they naturally could not make changes to the picture quality.

Now, all key paths and main roads, including various forks in the road that are not very memorable, are marked with faint glowing marks.

And Yang Qi obviously spent a lot of effort, because these luminous marks were integrated without any abruptness, as if they should have been there from the beginning.

The background also incorporates many iconic buildings in a very three-dimensional way.

For example, ancient stone pillars leading to the water, a glowing mysterious altar, or a huge square inscription.

It can be seen from a long distance, and even if players get lost, they can roughly correct themselves to the path they were on by constantly comparing the locations of these landmark buildings.

After traveling like this, Zhou Kuang found that he rarely got lost!

By the time he was three-quarters through the first level, he had only taken the wrong path a few times.

And it wasn't the map's fault, he just took the wrong path.

What made him even more delighted was that the environmental differences between different plots of land were also highlighted.

Whether it's a soft, swampy patch of land filled with silt and dead weeds, a path paved with mossy seabed bricks, or simply brown, hard earth, the transitions between them are remarkably smooth. Each change isn't abrupt, like a scene change, but rather a gradual transition from one plot to another.

Not only is the switching process very smooth, but now the visual perception between each block has also been enlarged.

In addition to the simple differences on the ground, there are also changes in aspects such as the surrounding fog concentration, vegetation density, monster ecology, light and shadow tones, etc.

Yang Qi made a compromise in this regard, because in order to create this visual gap, he had to give up some of the dark style artistic perception.

Obviously, in the eyes of Zhou Kuang and Feng Qi, this compromise is necessary.

The results gained are totally worth it.

Another obvious change is that the interactivity of the scenes has been greatly enhanced.

The previous map was completely static, with almost no interactive areas, except for a few very obvious and important interactive locations.

Apart from fighting, traveling, and opening treasure chests, players have very little additional room for operation.

And now, Feng Qi has also added a lot of interactive facilities in a unique way. For example, in the ruins of an ancient site, if the player can find a wall that keeps flashing when approaching and stays there for a while.

After a while, the wall will flicker faster and emit a brighter light.

If the player does not leave, hidden plots and boss battles will be triggered.

There is also an emergency escape device near the boss battle site.

These hidden mechanisms are of different shapes and are hidden in every corner of the level.

If players can find these hidden escape devices and feel they cannot defeat the boss, they can choose to activate these hidden devices to escape from combat in an emergency.

This is also a mechanism to increase tolerance, making ordinary players feel a little more relaxed.

The third point, and the biggest difference Zhou Kuang felt, was the logical reconstruction of the enemy's combat AI.

The behavior patterns of monsters before were relatively simple. This was also because this was the first time that the "Youming Shanhai" production team made an ARPG, so everything had to start from scratch and copycat.

Now, once facing two or more monsters, the enemy will consciously use tactics. At least one monster will simply attack and entangle the player, while the other monsters will choose to flank or even go around from behind.

If they realize that the player wants to escape, they will immediately abandon their current behavior pattern and continue to surround the player.

Zhou Kuang encountered such situations countless times in this version.

Although he was aware of this, it was surprising that even if he was prepared, he would still be caught off guard by the enemy.

This unexpected combat process offsets the repetitiveness of clearing monsters and greatly reduces the boredom of the game.

In some special terrains, they will even use traps, height differences, and terrain advantages to lure players into situations that are unfavorable to them.

Zhou Kuang was lured into the swamp by a small monster with low health. It could have been killed with one sword, but instead, it was killed by the crab monster on the opposite side.

Moreover, this little monster kept running to the side of the trap, and only attacked selectively when Zhou Kuang's character was given the negative state of slowing down.

Zhou Kuang pressed the dodge button, thinking he could dodge, but because he was in a slowdown state, the dodge distance was not enough and he still took damage in the end.

As the saying goes, there is endless fun in competing with others, because everyone's brain is different and everyone has different ideas.

Therefore, coping with it also requires players to constantly adapt to the current situation.

Now the enemy's combat AI is beginning to take on some human form.

(End of this chapter)