https://www.mariolois-videogamedeveloper.com/rotato daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f5987310-3a4a-4dd0-ae4b-78812ed2e96d/rotato.png Rotato - Always guided by roundness, these mice rotated their fate and that of all existence to achieve their ultimate goal: C H E E S E! Rotato is a minigame compilation controlled exclusively with one input, the mouse wheel. Every minigame in Rotato is centered around rotation. Full with pop culture references filled with comedy and surprise, you can play Rotato, and its sequel, Rotato Disc Jam right now! https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f14833c6-9786-4d9a-8cae-9ca732d1339a/rotato-dance.png Rotato - In Rotato, I took care of: Game design: Along with my design partners, I designed and documented the main mechanic of the game, that of using the mouse wheel to rotate different elements. Level / Minigame design: I took care of designing the minigames themselves. From coming up with the idea of the rotating element, to the design of the puzzle / minigame, and finally review after each iteration until the minigame was finished. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/eb6232af-0b00-40ca-9550-e905c3b1e422/Chestopher.png Rotato - On the flow of the game: Since the minigames are so short, it was essential to make them impactful, and we used the comical element of the game's aesthetics to make that impact, so the player would quickly be engaged in the minigames. But it was also necessary to make them intuitive, so the players wouldn't get stuck and frustrated easily. The only control being the mouse wheel helped make the minigames more intuitive, since there is only one input option available to the player. Even though the controls do something different in every minigame, a few seconds of experimentation from the player shed light on what it is they can and have to do. The concept of rotation is another constant, and is reinforced by rotating elements controlled by the player on every minigame, the only input itself being the mouse wheel, and even the game's title. Using all of these little details as tools help convey a certain uniformity in control without it necessarily feeling forced nor excessively repetitive. https://www.mariolois-videogamedeveloper.com/resume daily 0.75 2024-08-05 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/3821b15f-d886-43ab-996d-993bdff2bc16/LogoGL+%281%29.jpg https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/d56ba080-265c-4caf-b9c2-441d204d078b/Logo-Conejo-Tumbao.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/417d3a0c-e043-4e82-9ea5-5050d0f8e0ca/ESNE-og.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/ffc1689a-bd87-4a56-a7ca-5f994438b617/unsplash-image-p0j-mE6mGo4.jpg https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/1d88a4ea-2ccb-4cca-ad0d-0d520e9ed3bf/127-1274512_unity-transparent-white-png-unity.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/e3908f5f-565f-4749-bf25-c3c835162de0/250px-unreal-engine-logo.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/35f53991-e673-449e-ada9-67f93f82b190/Word.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/67f92891-0649-425b-a5a3-724b2e3c4eaf/GSuite_logo.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/64ae7f1a-5dbc-410f-b8aa-23f8581e6e9a/Adobe_Photoshop_CC_icon.svg.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/95d5bbe1-5a1d-4f74-8d06-fb2688c81cec/Adobe_Illustrator_CC_icon.svg.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/e79440a7-a81f-4fe4-8118-0478c50f278c/Adobe_Premiere_Pro_CC_icon.svg.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/c36a8009-b02f-4e90-8cee-7cbbc77b8cc5/Powerpoint.png https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f1fa35bb-2780-43a9-baf9-ca5c7d5541e7/Excel.png https://www.mariolois-videogamedeveloper.com/constella daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/1f092417-8bb7-4b62-8b40-1c16a7017f6e/Constella.png Constella - Constella is a “walking” simulator in which you find yourself in a distant dream, in the middle of a lost sea. As you explore this oniric landscape, you will discover the stories of people that came before you, who faced the hardship of loss, and how their journeys led them to recovery. Along the dream, you will find letters, roaming inside bottles, waiting for someone to read them. While keeping their memory alive, you will also be able to share your own experiences, and send bottled messages away, leaving them to the ones that will come after you. You can play Constella right now. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/4320723b-3ec1-4464-8781-45bf9d2dd51e/ConstellaLetter.png Constella - In Constella, I took care of: Game Design: In this project, I led the design team on weekly reunions, mainly serving as a mediator in a roundtable in which we would discuss different design topics to solve about the game’s design. I also worked on the design of the game map, and implemented it in the game engine (Unity) in the form of whiteboxing. Project management and production: Like in Hippocratic Oath, I took care of making a production plan, pitching it and negotiating it with the team, conducting weekly meetings to evaluate the progress made on the different tasks, and adjust these tasks based on the necessities and capabilities of the team. Translation: Again, I carried out the translation of the game from Spanish to English. In this case, the translation was challenging in some aspects due to the more poetic vocabulary used in the letters. https://www.mariolois-videogamedeveloper.com/home daily 1.0 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/2595c7f7-f204-41f7-8478-7235176a593c/asphalt-legends-unite-03-26-24-1.jpg HOME - Games Some of the projects that I have worked on as a Game Designer https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/00524329-e6f6-4cf1-8d28-1c727864253e/LogoGL+%281%29.jpg HOME - Resume Experience as a game developer https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/537f1ea5-f775-475f-ac9c-768f71ca6034/IMG_20240802_130028.jpg HOME - A bit about me Hello, my name is Mario, and I am a young videogame designer from Madrid, Spain, currently based in Barcelona. I love game design and my goal is always to keep learning and growing as a developer and as a person. I am interested in development for games of all areas, scopes and genres, and ideally, my dream is to have participated in games of all types by the time my career wraps up. In this page, you will be able to see some of the projects I have worked on in my tenure as a game designer. If you want to know more about me as a person, click down here. https://www.mariolois-videogamedeveloper.com/about daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/37cab6c8-b13f-461c-b00e-2b6c9b6ffaef/IMG_20240802_130028.jpg https://www.mariolois-videogamedeveloper.com/hippocratic-oath daily 0.75 2022-07-15 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/0fffb6ae-7d58-4214-b81b-47542c94e58a/HipOathDialogue.png Hippocratic Oath - In Hippocratic Oath I took care of: Game design: I took care of the design and documentation of the operation system and its mechanics, mainly focusing on the behavior of the tools available in the game. I also took care of designing and documenting various systems in the management and visual novel aspect of the game, such as the game calendar and passing of time, dialogue system and sanity system (similar to the game “Eternal Darkness: Sanity’s Requiem“) among others. Project management and production: I acted as the game’s producer. I proposed a production plan to the team, negotiating with them different deadlines and weekly tasks. Every week, we had a reunion in which I spoke with every member of the team, and we evaluated the progress of the tasks. We would adjust the production plan according to the team’s necessities and capabilities. Translation I translated the game’s script from Spanish to English. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f19c4dba-712e-4e66-b4c8-924a56428c26/0_Mockup_Calles.jpg Hippocratic Oath - On the Sanity System: The Sanity System was mostly based on the Gamecube classic: "Eternal Darkness: Sanity's Requiem". The player characters in Eternal Darkness had a Sanity bar, which determined the possibility of experimenting hallucinations, as well as the intensity of these. These hallucinations were meant to scare and throw the player off, even sometimes breaking the fourth wall. The concept is very original and works as a nice horror game gimmick, but one criticism that could be issued is that the game fails to make the player doubt on the veracity of those hallucinations. The sanity system we designed for Hippocratic Oath set out to focus on that particular element. The nature of the protagonist's profession as a surgeon and investigator in this time was filled with decisions that would take a toll on their mental health. Becoming the doctor is a big part of the game: not only doing operations, but managing time, resources and choosing how to proceed with the investigation. Every decision has a price, and usually, that price is sanity. Unlike in Eternal Darkness, the sanity in Hippocratic Oath is not constantly displayed. It is shown once every in-game week and the changes of sanity are signaled, but not specified in quantity nor direction. The hallucinations can affect the player both in and out of the operations, usually elevating the difficulty of different situations, so it is best to avoid going insane. However, many hallucinations aren't clear as to whether or not they actually are real. Many situations in the game are designed to keep the players doubting. This all plays into the paranoia aspect of the game, and gives weight to the decisions, putting the players in risk/reward situations if they want to progress in the game's story. https://www.mariolois-videogamedeveloper.com/meadows-xp daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/69b3e7a7-2a3b-4864-bdb8-fa34b69320dd/ItchIbuyGif.gif Meadows XP - Meadows XP is an interface game based on early 2000s Internet culture, that looks back on humans’ obsession with the virtual world, while also reflecting on the effects it has had on our contemporary society. The game is a sort of virtual space for the player to explore and interact with, having various tools and programs to play around with. It tries to evoke nostalgia, but also use this nostalgia to make the players reflect on how we interact with the virtual world in contrast to the real world. You can play Meadows XP for free by downloading it here https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/28c32b84-c3a4-4d71-b1c1-4047756afab7/ItchMyplaceGif.gif Meadows XP - In Meadows XP I took care of: Game Design: As a self-imposed challenge in the form of a three day solo game jam, I initially came up with the concept of the game, and from there, started looking at ways to explore the themes that I had in mind. I looked at different ways and opportunities to transmit the message with different interactive spots in the context of an old-school computer interface, and I implemented and tested them to see which ones could be interesting and unique for the players. Programming: One of the main reasons for doing this project, was programming practice with Unity. Through this project I grew more familiarized with scripting through C#, Unity’s UI tools and achieved an overall broader view on how to plan a project’s development and how to proceed through the technical aspect of making a game. After this project, I grew more comfortable with Unity beyond using it in a designer role, and prototyping my own ideas. Art: Using Adobe Illustrator, I replicated the very concrete style of Windows XP and early 2000s internet pages. This very specific style is characterized among other things by the use of gradient colors. In the process, I worked with the basic tools the program offers, and with the gradient tool itself in order to replicate, yet parody the logos and interface as closely as I could. Every visual element in exception to the real life photographs was created this way. https://www.mariolois-videogamedeveloper.com/games daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f4b85ee1-b5bd-4dc4-84c6-b1ae5900158a/asphalt-legends-unite-03-26-24-1.jpg GAMES - UNITE IN RACING Asphalt Legends Unite https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/91dfbd64-a556-4cb9-b95b-65cdbd8c5f52/capsule_616x353.jpg GAMES - COOPERATIVE CHROMAGIC ACTION Magic Twins https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/0596a327-175e-4606-bcd7-6507c854533b/Ads.png GAMES - THE NEWEST GAME FROM 2005 Meadows XP https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f14833c6-9786-4d9a-8cae-9ca732d1339a/rotato-dance.png GAMES - C H E E S E ! Rotato https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/e4b6cbc9-0953-40ba-b067-99954e0c01e0/Captura2.PNG GAMES - THE DEADLIEST CARD GAME You’re Dead! https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/caf8fdb1-da17-4959-806c-3df9e25283b3/Picture1.jpg GAMES - VICTORIAN SURGERY Hippocratic Oath https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/cf5e4de7-6d04-43ec-b3bf-376e0394a977/Constellaar.png GAMES - A TRIBUTE TO ALL THINGS ONCE LOST Constella https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/5bde2bf2-19cd-4ecb-a39a-bf77241bbaa5/Captura.PNG GAMES - WHO ARE YOU? Smith https://www.mariolois-videogamedeveloper.com/youre-dead daily 0.75 2022-11-09 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/d29d631f-14b0-4419-8252-7c547a62ce7c/youredeadgame.jpg You're Dead! - You're Dead! is a frantic card game based on Russian Roulette. With 6 cards on your hand, not knowing what any of them contain, eliminate all your adversaries. But beware, don't end up blowing your own brains out. Each player has 5 Not Yet! cards and 1 Dead! card. However, nobody knows which is which! On the first turn, each player reveals 2 of their cards. After being revealed, they are concealed again, and each player can make 1 exchange with any other card in the game. Now's when it gets crazy. Choose to either shoot your enemies, or shoot yourself. 1 shot per turn. If you risk it on your own head and make it alive, you will be rewarded. Change cards with another player or reveal 1 of the cards only for yourself. And remember, if you lift the black card on your head... You're Dead! https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/22f6db26-4e28-47c1-aa08-7bab11a59538/youredeadcards.jpg You're Dead! - In You’re Dead! I took care of: Game Design: Along with my teammates, we developed the idea of a card game based on Russian Roulette, and we iterated the idea, by changing the rules, adding or substracting elements, until we found a ruleset that made the game fun, and easy to understand. Game Testing: Also along with my teammates, I helped conduct many testing sessions, in which we would analyze how the players behaved and what strategies they tended to use. Afterwards, we would also interview them, looking for their overall impressions and suggestions on how to improve the game. Rule booklet: I wrote a rulebook that explained in a clear and concise way how to play the game. I also designed the graphic aspect of it, as it had to work as a piece of relevant information, but also as a part of the physical product of the game. The rule booklet comes in both Spanish and English. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/3d48d62f-7322-496c-93a0-40a0d1a3f218/DSC_4316.jpg You're Dead! - On risk and reward: You're Dead! relies heavily on the feeling of tension and surprise that comes from the uncertainty of the outcome in every card reveal. It is mostly a visceral experience, and even its strategic elements blend in a core dilemma for the players who want to rise above the others. Knowing that in every turn somebody could instantly lose makes the game more thrilling. It mostly works on an extreme risk and reward principle. The risk of taking a shot at oneself is very high, chance might dictate one could lose on the first round. However, agency is not available to players who don’t take risks. Identifying Bullet cards and snatching them from other players is only viable to those who can risk their own head. As the cards decrease, the risks and rewards grow further. Towards the end of the game, the risk of losing is higher, but so is the agency that the players get over the contents of the cards. Those who don’t take risks leave chance to decide their fate. Those who risk it all, have the chance of forging their own fate. https://www.mariolois-videogamedeveloper.com/smith daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/9efe1bd9-944a-4ac1-a7ae-b82ad0d6de2f/Smith.PNG Smith - Smith is a small point and click experience based on themes of social isolation, and loss of identity, seen through the lens of a dystopic society obsessed with work, and complete individualism. Smith was developed as an individual project on the flash-like game engine called “Flickgame”, which only uses color, and alternating between a limited amount of game screens as functioning game mechanics. The experience is based on contrast, on change, and on reinforcing the sensation of being lost in an infinite loop of nothingness. You can play Smith right now. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/6c74c4d2-9196-45fd-860f-238722fc8ad5/Smocho.PNG Smith - In Smith I took care of: Game Design: I designed the main structure of the narrative, and from there, designed how the experience would flow from screen to screen, determining the different outcomes of the player’s decisions, and how to lead him to the different places the plot could go, by using color and contrast. Art: I tried to find a style that worked under my limitations as a graphic artist, and went for a simple line, black and white style, that used color in a very limited fashion, in order to highlight it, and lead the player through the different scenarios. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/d7bf8e22-6f5a-41c6-8d19-5ba1677a4ac0/Choselife.png Smith - On the use of limitations as tools: This game was a result of working with a tiny game engine called Flickgame for the first time. In this engine you can create different 2D scenes which the player can only navigate through clicking on the colors that compose the scene. The color palette, pixel size and scenes you can use for a game are very limited, so it was a challenge of knowing how to use the tool's limitations to my advantage. Scene composition is an essential element when working in this engine, as interacting with colors in a scenario is the main way the player has to interact with the game. Since there is such a limitation to color and pixel size, I decided to go for a style highlighted by contrast. I wanted to tell a story of choosing your own fate rather than conforming to a path laid out for you, so I used visual elements that represented those two opposing ideas. Most of the scenes have an almost completely monochrome color pallet, with very square-like shapes. These represented the monotonous and oppressive nature of a distopic society in which individuals merely follow their laid-out path. Then, I used intense colors, mainly red, to highlight the breakout moments where the player can escape the monotonous grey landscapes of the city and search for liberation and a new fate. Using these vivid colors as contrast was also a way of guiding the player to the possible interactions available in a scene. The only non-monochrome color I used to associate and interact with the oppressive society was a lowly saturated orange, that would only appear with elements closely related with those negative elements. By associating emotions and ideas with colors, I was able to convey meaning by displaying them in different situations. Given that interacting with elements differentiated by color is the base of interaction in this engine, I used color and contrast as a tool to convey meaning through the players' interactions. https://www.mariolois-videogamedeveloper.com/magictwins daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/3067aa07-1e89-4b6f-ac71-27837030742e/MagicTwinsMap.jpg Magic Twins - In Magic Twins, I took care of: Level design: I designed most of the levels in the game. The levels are divided into 5 areas, each with its own unique type of enemy. Combining the types of enemies with various mission objectives, each level brings a different type of challenge to the player, making the game feel fresh at every moment. Game balance: I gathered feedback from different players, both in single and coop mode, and adjusted the difficulty curve of the game accordingly, changing different variables, from mission objectives themselves (even discarding entire levels), to the speed of the enemies. QA: I constantly made sure everything in the game functioned properly. I made sure there were no bugs in any part of the game, and if there were, I made sure to report them as precisely as possible, making use of images and videos. I also observed the visual details closely, as well as the game feel and player feedback to make sure that it could be as polished as possible. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/f3cda78d-7ba9-4d7a-a1b9-48c4b51c1331/Magic+Twins+Screenshot+10.jpg Magic Twins - On designing the levels: When creating the levels, the goal was always making a new challenge that the player hadn't already seen. Each area introduces a new type of enemy, with its own mechanic, so every area usually focuses around this specific mechanic. The first thing when producing ideas for the levels is: "What can I do using this mechanic to make an interesting and fun challenge?". I sketch out a few ways I can use the elements at my disposal to create the situation I want the player to face. Choosing the enemy type, placement, their speed, and the objectives of the level, I design a few variations, and then test them in-engine, to see which works better. It's important to balance out a level which isn't too hard to figure out, but also not too obvious. I try to use the different elements to guide the player to that "A-ha!" moment, while also sometimes throwing a wrench in the way to keep it surprising and exciting. It's also important to maintain an overall game flow, from level to level. The challenge needs to escalate, but also feel fresh and ever changing. I try to keep similar levels apart from each other, so that the player doesn't get tired of similar concepts. There is also a progression on the use of an area's mechanics. The first level of an area introduces the player to the new enemy and its mechanic, and the subsequent ones use different situations in which the player learns how to fight or even take advantage of the enemy's mechanic. The player is slowly guided to mastering the game's mechanics through the levels themselves. https://www.mariolois-videogamedeveloper.com/senderos-y-luceros daily 0.75 2022-01-29 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/2cc73587-242a-4500-a509-6a9f7d23c841/senderos.png Senderos y luceros - Senderos y Luceros is a game about El camino de Santiago. You are a pilgrim in the the last stretch of the way. In what you have left, you will find different people who will speak of their experience and their motivation to embark on this journey. Every once in a while, you can sit, enjoy the landscape and watch the sun set, and then rise again. You can also share this moment with your fellow pilgrims, strengthening your bond as partners. Senderos y Luceros was a submission to Jam Cultura Abierta, a Spanish game jam that uses Spanish cultural landmarks as inspiration for videogames. You can play Senderos y Luceros right now. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/65389279-83ea-4905-8df7-ea6fc8708d53/SenderosCathedral.png Senderos y luceros - In Senderos y Luceros I took care of: Game Design: Once we chose the game concept, I started sketching the different ways to transmit the ambience of the experience through the mechanics. I designed a stamina and rest system for the main character. I also defined encounters with other pilgrims, and how they would play out. I constantly kept up with the artist and the programmer in our team to adjust different decisions and test out if the ideas were working. Writing: I created the three pilgrim characters that you can find in the game, and wrote a plotline and dialogue for each of them, trying to convey a different perspective on what the journey means to them, for each of the characters, developing the theme of life philosophies and how each of us can develop our own unique way of understanding life. https://www.mariolois-videogamedeveloper.com/asphalt-legends-unite daily 0.75 2024-08-03 https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/638a4a1c-ab3c-4c39-90d0-0cb80c9c11ed/ss_2b5c8e4454ac1f9336b4cf39fef46c577cbb8c92.600x338.jpg Asphalt Legends Unite - In Asphalt Legends Unite, I took care of: Feature Design: I participated and took ownership of a few feature designs, from the benchmarking and initial proposal, to landing the documentation, regularly presenting and defending designs to stakeholders, developing UI fakes and flows and ensuring the correct implementation of the systems into the game. Car Creation: I regularly took care of the car creation and balancing of the new cars for each update of the game. I adjusted the chassis and suspension values of the car, as well as its initial and final stats, taking care of a proper progression between all statistics and ensuring an overall balance between the cars within the game. Game Mode Creation: I participated in the brainstorming of multiple Game Modes and also took ownership in the design of some of them, establishing the rules, developing the documentation and participating in the development of the mode, testing and providing feedback, iterating until the final design was completed. https://images.squarespace-cdn.com/content/v1/61eb32776a6fe04ef3b96549/db55a48d-b383-4a09-bd54-df4d0b9a9ede/ss_6ea45a65f458766af24dab56ba058515c100bc65.600x338.jpg Asphalt Legends Unite - On properly balancing cars: When creating a new car, we must first identify what it is the desired performance we want from it, within the game's tiers and performance rankings. In the case of Asphalt, since we deal with preexisting cars, their real performance determines an approximate of where they land, but we still have quite some leeway with the stats and their progression. Once we select a car that fits the approximate area of the specific tier, we now have a specific frame of reference for how that car will need to perform. The first step, therefore, is to analyze this frame. We pick the closest cars within the car's desired position and proceed to run tests with them. The main thing to look for is the average times and overall best time in a specific track we use for these tests, which contains every type of curve, obstacle, ramp and terrain that can possibly affect the car's performance. We also take a look into the feel of the cars: first, how the handling affects the drifting and cornering, along with speed loss when turning. We then look at how the nitro affects the driving, since Asphalt has an intricate nitro system with multiple types of nitro boosting, each optimal for different types of situations, so the feel of the cars is also defined by this. Suspension and chassis adjustments also determine how the car reacts to jumping and landing. With Asphalt being such an airborne racing game, where jumps and ramps function as key ways of gaining speed, this is another important point to take into account. All of these tests are taken on different points of the car's stat progression, to also compare the focus of a car's specific progression. When all of these factors for the reference cars have been analyzed, we proceed to decide the stats and feel we desire from the new car. The goal is to have the car feel different than its close referents, but most importantly, to select a specific time window for the car's performance. Now begins the process of testing and iterating with different values until we obtain the desired results. There are three things to look out for: 1. Appropriate times both for the car without any upgrades and with its upgrades maxed out 2. A correct stats progression, where the impact on the car's performance by improving specific stats is balanced within all of the car's stats 3. A unique driving feel that gives the car a different feel within the frame of reference we have taken. When all three points are satisfied, the car is deemed complete. While the process of car creation is individual, we usually take a second opinion from a fellow designer, since there is a bit of subjectivity involved in some aspects of the balancing. Overall is a process built on the fundamentals by which I usually design: Analysis, Conceptualization, Testing and Iteration.