Prática de Shadowing: How to Make Less Annoying Gameplay in Geometry Dash - Aprenda a falar inglês com o YouTube
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Fun fact, I don't actually play that much Geometry Dash.
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Fun fact, I don't actually play that much Geometry Dash.
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Aside from messing around in the editor and coding some projects related to the game,
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I don't find myself trying out many custom levels.
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But lately I've been getting bored,
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so I decided to scroll through the featured list to see what kind of stuff the community is making.
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Besides, I really need to stock up on orbs for 2.2.
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And that's when I noticed that,
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while the levels usually have really nice looking visuals,
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the gameplay can be pretty annoying at times.
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Obviously every level is going to play differently,
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but there's a handful of recurring issues I see in pretty much every level I try.
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One of the most notable rules for good game design is that every mistake should feel like it's your own fault.
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If it takes a hundred attempts to beat a level because the gameplay was super buggy,
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chances are people are only going to have negative things to say about it.
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This video is going to focus less on bad gameplay like poor sinker UFO spam,
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and more on things that are genuinely unfair to the player.
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In my opinion, gameplay should always be prioritized over decoration,
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and creators should strive to make their level as fair and sight readable as possible.
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So without further ado, here are 10 extremely simple ways to make your level less annoying.
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In case you haven't spent much time in the editor,
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S blocks are invisible objects that cut off the effect of a dash orb when you touch them.
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They're generally used as a way to stop the player from cheesing levels,
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or just holding down for longer than they're supposed to.
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However, the main problem with these blocks is that they're completely invisible.
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If you're going to use S-blocks in your level,
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be sure to give a clear indication of where exactly they're placed.
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While a basic decoration or arrow is usually enough to get the point across,
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I recommend following what Fingerdash did and place a small gravity portal.
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Alternatively, you can go with the much better method of not using S-blocks at all.
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If you put spikes or saw blades on the path of a dash orb,
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it'll be much easier for the player to tell when they should let go.
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It also gives players a little more control by eliminating the surprise of having your dash suddenly get cut off.
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My rule of thumb is to leave the player in charge of releasing the dash
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and only use S blocks as a fail safe in case
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they managed to pass the point where they should have let go.
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If you play easier levels frequently,
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you've probably noticed that a lot of creators really like placing invisible blocks
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that correct the player's mistakes and put them back on the right path.
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While this is a nice way to reduce the stress of an easy level,
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the big problem is that the objects are, well, invisible.
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And that means that the blocks are most likely going to interfere with where the player was expecting to go.
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This really bothers me because the creator is essentially hiding major parts of the level
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and blurring the line between visible gameplay versus what's actually there there.
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If you truly want to make easy and readable gameplay,
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just make all of those invisible corrections viewable and merge it with the existing gameplay.
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In short, what the player sees up ahead should be the same as what's actually there.
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You'd think that with over 20,000 rated levels on the Geometry Dash servers,
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people would know how to make good transitions by now.
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Unfortunately, a lot of them still suck.
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And I understand why.
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When playtesting your own level,
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you always know exactly what's coming up and what to do next.
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The important thing to remember is that everyone else doesn't.
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So even if you spend 4 hours making the world's coolest transition,
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it's just going to make players angry if it gives them no time to react to the next part of the level.
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I'm not saying that transitions should be removed altogether,
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in fact a lot of them are really creative.
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All you have to do is give the player a good second
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or two to process what's up ahead before continuing along with the level's gameplay.
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This also applies just as much to blind jumps,
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or really any point in the level where you can't see the gameplay appearing from the side of the screen.
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Let's imagine you had to sit through a 5 minute level with absolutely no objects.
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Chances are you'd get bored and start making your icon jump around.
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Which is fair enough, because what else are you supposed to do?
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Anyways, now let's take that blank level and replace it with a quick message or logo or cutscene or whatever.
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I still don't understand why,
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but whenever people put pauses or cutscenes in their level,
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you almost always die if you try jumping.
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Either they're moving the icon to a very specific point behind the scenes,
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or they just really don't want you to jump there.
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Either way, try not to do this.
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When playtesting your level, make sure to test what happens when you try clicking during these pauses,
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and do everything you can to stop the player from dying.
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Oh my god, where do I even begin with this one?
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The fact that people still get away with doing this is very concerning.
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If a decoration resembles a spike or triangle in any way,
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it probably isn't a good idea to mix it in with the gameplay,
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because if it looks too much like it's in the foreground,
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people can and will confuse it for a real spike.
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In fact, more often than not,
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it's hard to even see a difference.
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The least you could do is raise them off the ground,
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or add outlines to the real spikes so players can tell them apart,
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but well you know how it is.
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I have nothing against marking jumps with arrows,
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in fact I think it's great,
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but the chevron arrow kind of exists for a reason, so please?
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This one only really applies to the UFO and ship,
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but please don't put jump pads inside of portals.
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Like, ever.
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First of all you can barely see them,
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and second of all, just why?
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Every time I play a level that does this I end up flying right into the ceiling,
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and and by the time I get back there I forgot that the pad even existed,
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so I'd die again.
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Either way, make it so there's no punishment for flying too high,
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or just don't put jump pads in portals,
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it's really not that hard.
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I recommend just placing a flat platform,
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which you can rest on for a second.
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More often than not, people are going to stack multiple portals on top of each other.
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For example, a transition into upside-down ship needs both a gravity portal and a ship portal.
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The problem is, both of these portals need to be readable by the player.
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If the ship portal is in front,
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the gravity portal probably won't be noticed,
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and if the gravity portal is in front,
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it'll be hard to tell what game mode you're switching to.
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The easiest solution to this dilemma is to just space the portals out a little bit.
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Chances are you don't have to switch size or gravity on the exact same frame that you touch the portal,
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so don't be afraid to move it forwards or backwards a little.
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Also, if you're using custom art for your portals,
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make sure it's still easy to tell what everything is.
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You don't want people confusing a gravity portal with the wave,
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or something like that.
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It's not a coincidence that modern 2 or 3 star levels play super differently compared to older ones.
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This is because in order to get a star rating that low,
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you basically have to treat the player like a 2 year old.
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Pretty much every jump in the level is done for you,
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and any flying parts require 2 or 3 clicks at most.
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I don't have too much to say about this one other than,
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please stop babying the player.
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If the level truly was easy,
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then players would already know where to go,
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so you wouldn't have to carry them through the entire thing.
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Chances are, you already know what I'm going to say for this one, so yeah.
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Make sure your moving objects are predictable.
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Well obviously it's nice to have surprises and such,
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but the number one rule is to make sure any moving
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objects don't interfere with what the player thinks is coming up ahead.
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And if it does, put some sort of visual indicator so it's easy to tell where you're supposed to go.
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For objects with multiple movements,
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you can communicate the movement by putting the object on a makeshift track,
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or by finding some creative way to telegraph where it'll move next.
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If you've played Mario Maker,
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you're probably familiar with the idea of a little tinny level.
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Essentially it's just a level that looks like it was designed by a four year old.
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Unfortunately, they exist in Geometry Dash as well, usually with demon layouts.
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It goes without saying that making hard levels is much,
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much, much easier than making easy ones,
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but if done poorly, they're just going to come off as annoying.
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Demon levels should be about technical
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and fast-paced gameplay rather than just a big gauntlet of a million challenges that you squish together.
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Gimmicks like straight fly and tight robot jumps are definitely hard enough for demon difficulty,
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but they're not really fun to players,
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it's just a method of artificially raising the difficulty a little.
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Demon level should still be fair and readable,
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the only difference being that the gameplay is much more technical and has less room for error.
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If your idea of a demon level is just spamming straight fly and crazy UFO parts,
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well, really you're just being a jerk to the player at that point.
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And that about does it for this list.
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This video is pretty different from my usual content,
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but I feel like it had a lot of really good ideas worth sharing.
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There's a million other points I could have gone over,
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but my advice is to just let a friend play test your level and take note of wherever they die.
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If you have any thoughts or things to add,
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be sure to share them in the comments,
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and I'll try to read as many as I can.
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I'm really interested in hearing what you guys thought of this list,
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whether you're a creator, or just someone who enjoys playing levels.
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With that being said, thank you for coming to my TED Talk,
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and I'll see you in 2022 when I upload my next video.
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Later, nerds!
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Por que praticar a conversação com este vídeo?
Assistir e praticar conversação em inglês com vídeos sobre jogos como Geometry Dash pode ser extremamente benéfico para aprimorar suas habilidades de fala. O vídeo oferece uma oportunidade única de se familiarizar com vocabulário específico e expressões coloquiais que surgem naturalmente no contexto de jogos. Além disso, você pode aprender a expor suas opiniões sobre jogos e entretenimento de forma clara e concisa, melhorando a sua capacidade de se comunicar em situações informais e de debate.
Gramática & Expressões em Contexto
No vídeo, o apresentador usa várias estruturas gramaticais e expressões que são úteis para conversação. Aqui estão algumas delas:
- A utilização de frases condicionais: "If you put spikes or saw blades, it'll be much easier for the player..." Essa estrutura ajuda a discutir resultados e consequências.
- Frases imperativas: "Be sure to give a clear indication..." Nesse caso, o uso do imperativo instrui a ação desejada, ideal para dar recomendações.
- Expressões de opinião: "In my opinion, gameplay should always be prioritized..." Essa forma é fundamental para expressar um ponto de vista e engajar em discussões.
Armadilhas Comuns de Pronúncia
A pronúncia pode ser desafiadora, especialmente com palavras em inglês que possuem sons não intuitivos. No vídeo, algumas palavras podem causar confusão:
- UFO: A sigla para "Unmanned Flying Object" pode ser confundida, então é importante praticar a pronúncia correta para se tornar claro em suas comunicações.
- Gameplay: Essa palavra é frequentemente usada em discussões sobre jogos, e a pronúncia pode ser uma armadilha se não se tomar cuidado com a entonação.
- Decoration: Preste atenção especial aos sons finais da palavra, pois podem mudar a ênfase e, consequentemente, a compreensão na conversa.
Praticar a pronúncia dessas palavras em um contexto de jogos pode ser uma maneira agradável de melhorar a pronúncia em inglês e expandir seu vocabulário. Utilize o shadow speech como uma técnica efetiva para aperfeiçoar sua fluência e aderir aos padrões naturais da fala.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.
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