"Gunplay" or "Gun Feel" refers to the audio-kinetic sensation associated with firing weapons in a video game. The primary aesthetic here is termed "sense-pleasure."
Hello Hunters,
Dive into this piece on weapon management in Steel Hunters, full of detailed insights into how we handle one of the most crucial aspects of the game.
Happy exploring,
Sky_Linx
Guns should feel appropriately weighty and impactful, relative to their scale. Their feedback should match their size, with pronounced SFX and VFX such as muzzle flashes, kickback, shockwaves, and impacts. Gunplay should be methodical and tactical. It should require time for the weapons to move into position, with the inertia of the weapon reflecting its weight and size. The interaction is not snappy and rapid - the gun movement is slow and deliberate and should feel massive.
Take Sir Steve's height with a grain of salt, as in this image we wanted to provide you with the current average height of a human adult. As for Razorside's Weapon, height is exactly 2.07m
The most important thing is that gunplay is predictable and consistent, but one of the key challenges with gun feel in our title is the third person camera.
We have to handle the offset between the muzzle of the weapon and the camera; failing to do so means the shot won't land where the reticle on the screen tells the player it will. There isn't one perfect solution to this problem, and different games employ different options, each with benefits and tradeoffs for the player - That's a question of basic functionality!
The second layer to this is 'gun feel' as even if the guns work, it won't matter if nobody wants to play with them. Gun feel is a culmination of a lot of different pieces working together at once to create the sensation behind a weapon - camera effects, VFX, audio, etc. It's harder to deliver on this fantasy in third person as the weapon occupies less space on the screen and isn't as visible to the player.
Every time a weapon is fired, it undergoes a sequence: Neutral > Fire Sequence > Weapon Action > Recovery. The more synchronized these states, the more "kick" the weapon appears to have. The Fire Sequence alone involves numerous effects and actions occurring in a brief timeframe:
Weapon Action is any movement inflicted on the weapon incurred by its firing: The way the hammer pulls back, the firing of bullets, the ejection of shells and the production of distinct sound effects tailored to each firearm. But especially in a fictional environment, a lot of extra movement on the weapon can be added. This is followed by what we call the Recovery phase, a crucial interval that prepares the weapon for its next use. While the overall sequence has parts that last just fractions of a second, typically between 0.1 and 0.3 seconds, it's the Recovery phase that takes up more time. This phase is vital as it impacts how quickly a Hunter can resume a ready position after shooting. On our current Hunters, the time needed for recovery can vary from 0.6 to 1.2 seconds, influenced by the choice of weapon and its inherent characteristics. Generally, choosing a heavier weapon translates to longer recovery times, enhancing the player's experience by conveying the feel of handling more powerful and significant firearms.
If the use of full stops after each word in subheadings seems deliberate, it's because it is – to amplify the effect: Hunters don't flinch because they are massive and sturdy, setting them apart from humans and our Drones.
Drones, in contrast, do react slightly upon impact, indicating the force exerted on them. However, our quest for precision is ongoing: we recognize that our current design does not differentiate between a hit in a critical damage area and one outside of it. In future updates, we aim to implement more sophisticated effects, carefully maintaining the equilibrium between their scale and auditory impact and the overall impact on gameplay.
Additionally, the scale of the ammunition used by the Hunters and its resulting impact are still under refinement. For example, Razorside's 20x138mm shells should create significantly larger impact craters than they currently do.
The book on Hunters' not flinching isn't fully closed, though. We are currently exploring reaction options will both sell the power of the weapon and won't compromise the feel of might of a Hunter.
Or, more straightforwardly, "Impact feedback" is the response a player receives when their bullet hits an object. This feedback varies depending on what the bullet strikes: for instance, hitting an enemy Hunter may produce sparks and, if it's a critical hit, a small explosion. Conversely, hitting the ground might create dust or debris plumes, while buildings may crumble. Broadly speaking, impact feedback depends on the interaction between the bullet and the object it impacts. We are currently focusing on developing and refining a more responsive and distinct Target Feedback System, but this can neither be promised nor taken for guaranteed.
In some third-person shooters, the hitscan system (a method for hit detection that instantly determines whether a target is hit based on the shooter's aim) originates from the screen's center toward the reticule. This mechanism works well when the character and their weapon are near the screen's center. In other titles, like ours, the hitscan originates from the barrel of the weapon itself. While this prevents some issues that arise out of firing from the center of the screen, it does introduce a discrepancy between where the player expects to shoot and where the bullet is actually aiming.
In Steel Hunters, due to the scale of the characters, the offset between the weapon and the camera in SH is particularly large compared to other third person shooters. This doesn't present any new issues that other third person shooters don't already have, but it does exacerbate them. Our camera is positioned over the Hunter's shoulder, providing a larger gap between the weapon and the screen's center. This allows for a broader field of view, facilitating long-range combat and emphasizing the Hunter's heft and presence.
Using a Turning-Point-Distance (TPD) System helps to align the trajectory of the bullet with the reticle on screen, although also this comes with certain different issues again. We're investigating alternative solutions.
The ongoing development seeks to introduce a Dynamic Aiming Offset System, improving aiming precision and interactivity.
You might have noticed in films that often a spark appears on screen as a bullet narrowly misses the protagonist, accompanied by a whooshing sound. We find this type of feedback compelling and aim to incorporate it into our game. By using simple, invisible colliders attached to the Hunters, we can simulate this effect: if a bullet passes through but misses the Hunter, a sound cue will signal the near miss.
To sum up: We hope this article strikes a chord with you, dear Players, as we've dedicated this week to providing insights into game mechanics and development areas in a manner that is both technically informative and engaging.
This article marks a different approach from our previous ones on Movement and Balance. We're currently showcasing different styles, assets and perspectives to give you that special behind-the-scenes insight our Forge was brought-to-life for - and turn this series into the celebration between Developers and Players we're striving for. One that, like Steel Hunters itself, is to set us apart from all other titles on the market.
We're keen to hear your thoughts through our Discord channel and a soon-to-be available feedback form - to help us not only polish the game but also tailor our communication. Let us know which style clicks with you the most. Stay tuned for the next updates, share your feedback, and never miss an opportunity to answer the call for Battle.
See you soon, Hunters!
