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Published online: 2 Sep Memon et al. Published online: 8 Aug Published online: 18 Apr In this tutorial you will learn the planning workflow to use for all your projects to help you finish them. Sometimes I would collect some photo reference and create a top down layout but most of the time it was idea straight to level editor. This usually led to an unfinished project.
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After years of figuring out, developing and testing the system for planning, I came up with 11 planning steps that I go through every time I start any project. The planning process can be for a stand-alone game environment or a full playable level and it is what I call "Preproduction Blueprint". There are 2 types of projects you will usually work on - playable level or stand-alone game environment. Everything begins with an idea.
A thought in the artists mind can become a playable level, a stand-alone game environment or a full game. Ideas are everywhere and you have them all the time. Whether your ideas are deliberate or spontaneous you have to write them down or you will not remember them. Carry a sketchbook or a notepad with you everywhere you go. When you get an idea, write it down or do a quick sketch.
This notepad and sketchbook should be specifically dedicated to game environment art and level design. To generate ideas deliberately you must begin to see everything around you as possible playable game space. Begin to shift your perspective from everyday locations to seeing possible playable spaces within those locations. Other ways to deliberately look for ideas is in architecture or photography books, comic books, magazines, stock photo websites, concept art, paintings, movies, tv shows and games. Whatever the idea you are naturally being pulled to explore is the idea you should pursue.
Pay attention to what you find interesting, what you are naturally drawn to, excited and inspired by. When you have an idea or see an image of a possible game environment and you hear inner voice saying "Oh, that's cool" is a good indicator that you may want to pursue that idea further. Some of the things I feel drawn to are overcast days, rain, snow, abandoned locations houses, buildings, cities , modern contemporary architecture, realistic, dark and gritty movies. Most of the environments I create reflect that. Of course it doesn't mean you should only do those types of environments.
It is important to develop yourself as a full artist and explore variety of styles that you aren't comfortable with.
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But, initially pick ideas on things you are interested in and feel passionate about. If I don't feel a high level of interest it won't be long before I abandoned that project. You may be working for a client or in a studio where you have to fulfill someone else's ideas. You have specs to follow and an art director to answer to.
It could be difficult to find excitement and inspiration to continue working on ideas that are not what you would choose. The key is finding something within that idea you can be excited and inspired about. Maybe you like the lighting within the environment or you care about the story being told. Whatever it is, find that aspect of the environment in any way you can.
Once you have the idea you want to pursue you must decide on the environment setting, location and theme. Since you are going to dedicate a set amount of time to this project you want to make sure you have a good reason for pursuing it. For this you have to define project purpose. Project purpose is a very important internal decision of why you want to pursue working on this idea. Purpose helps to stay focused on the outcome you are after and get the project finished. Know why you want to create this game environment and see it come to life. But in the examples you listed, probably just bet and barrel most of the time.
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I recommend that if you are in the market for a tracker or if you have HM2 and are kind of whatever about it, go with PT4. My question is do we ever just lead, jam here?
I feel like with their respective ranges it makes sense. I cannot stress that enough. If you lead jam with your sets, what does it mean when you check? Not to mention now your opponent can always jam his hands like AA for value and not have to be scared of getting trapped. In situations where your opponent is representing overpairs and you do not have many hands that beat those overpairs, you should play your entire range conservatively to protect yourself from hands like AA.
Check and hope for the best. Say you raise with 4x 4x, button calls and the flop is Qx 9x 7x.
Sometimes you just gotta throw in the towel. We defend the BB against a button open and face flop and turn bets, both of which we call on a board of 8d 3s 2s 2h 6c. How do we go about selecting bluffs when our range is so wide? Hey guys, concerning the BB defense video, I was wondering what some of you are including in your ranges as hands that will realize their equity enough to defend properly against a 3x button raise in a vacuum.
Suited and connected hands realize better than their offsuit and unconnected counterparts. I would take 8s 5s over Kd 2c for sure. Anyway, I would call Ks 4s for sure, in fact pretty much any Ks Xx suited in this situation will realize enough equity. Play around with this, watch the big blind videos and you should be okay.
Things like how tight your opponent is, how much rake is in the game, and what size did they open to, will all be by far the most important factors in deciding if you should call or not. By that I mean the frequency of our bluffs. In these games, is there a way to determine a good C3 bluffing frequency? I feel like I just bleed money bluffing in these games, but then of course that means I always have it when I am going for big value. The games are loose, passive with lots of calling stations.
My typical strategy is to just hope to make hands and hold, lol. The times I find bluffs work well is when c-betting against an opponent heads up if you managed to isolate.
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This is partially why we introduced the live section of the Lab. You need to bluff in games on Stars and such because for years, pretty much everyone is competent on some level. You need to be willing and able to adjust to make your strategy fit these games. Get good and learn what to do and how to beat these players. Like how to play for pots. Whose range is where and what do you do and really challenge yourself. ACRs low-mid stakes games are perfect because the regs are good enough to help you get better but bad enough that the games are easy to beat.
I have never met somebody that plays live who I think is good. Just to give you an idea. I understand that there are a lot of skills that you have. But certainly your weakness is the technical aspect of the game. Definitely watch my live play videos. That said, there are definitely live games where I am not bluffing.