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Here’s a short lesson from Susan O’Connor’s GDC Masterclass

Game writer Susan O'Connor has a long history of collaborating with great game designers to tell incredible stories in video games.

Now she wants to help you tell better tales with her December 4th GDC Masterclass.

We've previously given you a look at what O'Connor will be teaching in her advanced seminar. But what if you could get a taste of her teaching style for herself?

For a better understanding of how O'Connor will be handling her lessons, we reached out to do a quick Q&A from the perspective of a hypothetical student. We wanted to know how she'd help out a game developer working in a particularly unusual genre that doesn't see a lot of success in narrative: the world of free-to-play. It turned out she had a lot to offer.

Take a look:

Hey Susan, I’m a writer working at a free-to-play game company. We make a lot of games where you collect unique characters from randomized drops and use them to solve puzzles. For our next game, we’ve been given the green light to build out a LOT of original narrative. We’re in the early stages, and want to figure out how to do it right. We want to keep our audience interested and make sure we don’t overscope.
 
What are some of the practices we can do now with our design team so that we can start working on story and characters that can make it into the game?

Hi! Great question, thanks for asking. The best place to start (and end!) is with the player – deciding who your target audience is, and why they are going to like playing this game, and then figuring out how story/characters can make that gameplay experience even more fun. No game is for everybody. Knowing who is going to be drawn to YOUR game – and who isn't – will make your life a whole lot easier.

So as weird as it sounds, you start figuring out your story & characters by not thinking about story & characters at all. You start by thinking about the game. In this case, we'd need more gameplay details. For example, is it a match 3, or a mobile RPG,  or an invest-express game like Homescapes? Those different genres deliver different types of fun. For example, in an invest-express kind of game, self-expression is really important.

So you know you want to create story & characters that allow the player to express themselves. Great! You've got your narrative guardrails/measuring stick, and you can go from there.

Thanks Susan! This is kind of an invest-express type game. We anticipate that players will want to align themselves with certain factions, so the collectible characters are a means to that end.

OK great! So then the next thing to think about is, "What kind of relationship will the player have with the characters?" Which seems weird, I know, because the characters aren't real! But what I mean is, How do you want the player to FEEL about the characters? Do you want the player to think of them as little green army men? If so, then you wouldn't want to give them too much personality – gets in the way of the gameplay experience. Come from lodislot777

Or maybe the player is just separate from the characters, just watching their dramas play out. In which case you could create intense conflict between characters that never actually leads to anything happening (soap operas are great at this). Or maybe players could be in charge of creating dramas, like little girls do when they play with Barbies. (I'm pretty psyched to put army men and Barbies in the same paragraph.)
 
One concern that our designers have brought up is players being frustrated by repetitive line firing—every time they tap on a character,  we want something interesting to happen. What else do you think players in the invest-express genre are looking for that can help us build out content for them?

Your designers are right! There's nothing more annoying than hearing the same lines over and over again. To figure out a good solution, we can think about the player. (You can see a pattern here – it all comes back to the player.) I'd be curious to know WHY they are tapping on a character. Are they trying to accomplish a goal, or are they just doing it to see what happens? Players love feedback loops, it's all about figuring out what they expect, and then meeting that expectation in a smart way.

Years ago, I heard an Uncharted talk about how the designers were stressed about what to do with Nathan Drake when he reached the Tibetan village. Up until that point in the game, when player hit X, Nathan would throw a punch or take a shot – and they didn't want Nathan to punch monks!

So they changed the mechanic, just for this level. In the Tibetan village, when the player hit X, Nathan holds out his hand for a shake. The team was REALLY worried that players would hate this change. But they loved it! It still gave the player a satisfying feedback loop, and it kept Nathan in character.

So to get back to your question – players in an invest-express game want to be entertained. So you want to create interesting characters – people with personalities, and goals, and relationships with each other, and SECRETS – and then once you've got those interesting characters, you can combine that with "what player expects" and then create a narrative design that gives the player what they want, when they want it.

It may involve zero dialogue, if it turns out that's not what the player wants to hear! If the goal is to "make something interesting happen," that could mean a lot of things. Could be animations, could be a musical stinger, could be a thought bubble with images from the character's last dream…This is a great thing to brainstorm with your designers!

That's really helpful Susan! I can't wait for your class next month.

If this seemed like the kind of insight you'd like for your next narrative game, make sure to sign up for Susan O'Connor's Masterclass before it fills up!

For more information on the GDC Masterclass program, be sure to visit our website or subscribe to regular updates via FacebookTwitter, or RSS.

Gamasutra and GDC are sibling organizations under parent company Informa Tech

Control freak- Inside the narrative design of Remedy’s least linear game

Last month Remedy Entertainment launched Control to the world, its latest game in a lineage of narrative-driven experiences, from Max Payne to Quantum Break.

Protagonist Jesse Faden is trapped inside an ever-shifting environment called The Oldest House, looking for answers about the past and current events in the Federal Bureau of Control, an entity dedicated to studying anomalies.

In an effort to better understand the making of the game's critically-acclaimed narrative Gamasutra chatted with Brooke Maggs, a narrative designer at Remedy who has previously worked on The Gardens Between, Florence, and Paperbark, about her experience working to craft Control's eerie setting. 

Working with new IP and a new world ripe for experimentation

Working in a new IP of this scale opened up an extensive playground for experimentation, and posed some new challenges for the team at Remedy. 

Maggs says that previously the studio focused on fairly linear games, where players just followed the story through, getting to know the narrative and engaging in combat from time to time. But this time it was different, since the design of The Oldest House encourages players to plot their own routes through the world. Along with the main story path there are side missions, videos playing on TVs, and audio logs to find, all of which had to be wrapped up neatly alongside Control's core narrative.

Related:The real buildings that inspired Control’s Oldest House

“We had to make decisions about what key concepts to introduce in the main story, and how to build out the world in the side missions. An example [for this] is getting to know more about characters just by interacting with them, doing favors and helping get things under control with the Bureau,” Maggs explains, noting that the Control team are counting on curiosity driving players to seek out more narrative content in the corners of the game.

“They can choose just to power through the main missions or they can follow it during side missions… and not a lot of the these are actually super clear either, so it encourages discovery,” she adds. “If you're curious about a red light in a room, that will link to something. And that's really nice too. We're encouraging players to be curious and then rewarding that curiosity with narrative, as well as some [character] abilities on the side, things like that.”

Control also relies on environmental objects (think: documents and tapes lying out on desks) to give players the backstory of characters and small details of the world in short doses, but making them available in a game punctuated by room-destroying combat proved to be tricky, considering Jesse can levitate and use telekinesis to rip fixtures off walls, lob desks or other heavy furniture, and generally make a mess of the place.

Related:Using procedural destruction to unleash chaos in Control

Maggs explains that, because everything is reactive and dynamic in the environment, they had to plan how to avoid game design pifalls like making a single table in a room static and immovable because it has a valuable narrative document on it Come from hot646casino . Instead, they worked to place those narrative bits in parts of the game world that weren't likely to be disrupted, but were also easy to find. 

Some of the bigger narrative payoffs were instead transmitted through live-action video of actors that plays during the game (and can also be accessed from an in-game menu), minimizing the odds of players being distracted by combat. 

“So when [Director Zachariah] Trench appears to Jesse, that's happening while the player is still moving around the environment, so we don't actually take control and show a cinematic in that point," adds Maggs. "we leave the freedom [to] the player so they can still look around."

Filling the nooks and crannies

Though Maggs didn’t write them specifically, she was also involved in the design of Control's audio logs from the beginning. The Control team had a spreadsheet where they would decide what they wanted to include that wasn’t already covered in the main story, and then go from there. This covered topics like everyday life in the Bureau, objects of interest, and other quotidian day-to-day happenings in a paranormal environment.

Related:Exploring the world-driven game design of Control

Notably, Maggs says the team spent significant time ironing out the reason why characters would record specific audio logs in order to add to the realism, a concern that hasn't been as significant in some of her prior work.

“[The setting] was really interesting because the world in Control, I guess has a different purpose? So, the world in The Gardens Between is very metaphorically, because the whole fantasy was created by [the characters] memories’ together, and everything that you were doing was uncovering what had happened in this friendship. Whereas the world in Control, first and foremost [during] development we looked at questions like ‘what is the Oldest House, how does it work, how was the Bureau?’ and this was actually creating a realistic narrative world in a much larger scale.”

She compares it to Florence, Mountain's 2018 mobile hit about the main character’s relationship and the ways it's reflected in the micro-world arounder. But in Control, the world is much larger and can be considered a character in itself; according Maggs, the same applies to the Oldest House. 

On paper, this process involved asking herself questions of what stories each location could tell, about both when the player is traversing such spaces and what happened before. Something as mundane as the game's safe rooms, for example, required a lot of brainstorming beforehand.

“We've had some things put in the safe room by the level designers and we were like ‘that's a great idea but realistically these would not be in a safe room,” says Maggs while laughing. “All of that was awesome. I remember sitting with environment artists and level designers talking about how to put more of the story into the world.”

Often, these artists and designers would come up with better ideas than the narrative team once they actually had the narrative context for these spaces. “That's their art form, telling story in the environment and thinking that through," adds Maggs. "Environment artists know exactly what works, what color to put on the floor in a certain sector, because there was a design document for that… I mean these people don't mess around. Working with people who have that level of detail to the world was super cool.”

According to Maggs, creativity and attention to detail is common at Remedy. “The Threshold Kids”, a live-action puppet show presented in Control, was hand-crafted by a cinematic designer. The idea came from the narrative team, but it was the designer who actually built the puppets himself, using a studio downstairs as a set to record the scenes present in the game.

A career in narrative design

Maggs’ role intertwines with basically all other sectors at Remedy, as she focuses on the overall story and the player's experiene of it. While writers have to focus on characters, thinking about the words they use and how they articulate them, or authoring a backbone for a mission and how that’s going to work, Maggs’ job is to bring together all the people who have touched said mission. This involves sound design, lighting, VFX effects, level design, environment art, animation, and writing.

“We all go through a side mission together and say 'Jesse needs to say something here, we need an animation of her opening a door, we need a sound effect for the door opening, we need lighting on the door so people can see it’ and that's [usually] what I do," Maggs explains. "Then, I follow up and answer questions about the story that might help…that's where we come in, sort of like a walking dictionary for the world [of Control].”

Some of the new skills Maggs picked up while working on Control involve working with actors, recording and pacing dialogue, and getting people inspired to contribute to the story.

“When we were sort of saying like 'we've got this narrative idea’ and people would be 'that's very strange, what are you doing?' we were like 'well, bear with us!'” she tells Gamasutra. “I think I've learned a lot about championing the story and helping guide people to sort of all have the same idea of something in their heads, which is a challenge. I've also learned about attention to detail in a world, especially from Sam Lake. He really thinks through everything meticulously, and I thought that's the kind of craftsmanship that comes from years of working in narrative games. So that was really incredible.”

To anyone wanting to get into narrative design, Maggs’ advice is to understand story and story structure. She adds that her background in writing and editing has been really helpful. Even if she doesn't directly do those things in her job, she has done a lot of writing regarding design documents. All of it has to be clear to convey an idea, and whether that's fiction or non-fiction, it’s an important skill to have.

“I'd also encourage people to play games that have a strong narrative design to them, like Her Story, which is a good example of a story that's told with the way you interact with the game. Understanding game mechanics and what those make players feel it's important,” she says. In addition, thinking and looking at ways other media tell stories — that it’s not to do with words but rather images, color, and sound — is key. Maggs mentions Journey as a prime example of this, since there is no text or speech in the game, and how they examined that aspect when she was working on The Gardens Between.

“Pursue what you're really interested in, because narrative design can be a lot of different things, from interactive text games to puzzle or action adventure," she concludes. "Find the games that you love, dissect them and see how their work.”

Women in VR talk business and diversity in a burgeoning tech industry

Sports and education are two of the key areas in which both individuals and companies can become successful in virtual reality today, ahead of the impending launch of the major headsets later this year, according to a panel of VR experts.

“An easy concept for the mainstream to grasp is the power to teleport or to time travel,” explained Helen Situ, Virtual Reality Evangelist at NextVR, at a panel titled "Women Lead VR: Executives Discuss Content Creation and Diversity" at the Game Developers Conference in San Francisco this morning. “People want premium seat tickets to major sporting events. They want to be able to join in wherever they were in the world, so long as they’re online.

Situ appeared alongside three other pioneers in the VR industry, Nonny de la Pena, best known for her VR-based immersive journalism, Christine Cattano, who works at Framestore’s VR Studio and has created VR experiences for HBO’s Game of Thrones TV series and the film Interstellar, and Shauna Heller, founder of Clay Park VR, and former developer relations specialist for Oculus VR.

For Heller, sporting events are a strong opportunity, but new areas of VR's potential are yet to emerge. “In the short term sports events or 'time-travel' apps to specific events is a great way to get people into [the medium], but I think as it evolves it will become a lot more complex and nuanced,” she said. “How we approach VR will be not where we are right now. We’re currently retrofitting the creative areas we’ve all come from, whether it’s film or games. But VR is a long term play.”

“I think the VR industry is focusing a lot on gaming, but I’d like to see more money put toward therapeutic uses,” said Cattano. “I think that’s where the mainstream audience begins to see the value in the medium.”

Education is also a key area of potential growth according to the panel. “VR is a powerful tool for education,” said Heller. “Instead of merely putting your front row of the Lakers game, it has the capacity to place you in the front row of a learning environment. It directs your concentration. The cell phone falls away. The emails fall away. VR sharpens your focus. VR can be so many things. It can become something that saves time, energy and even saves people from disenfranchisement.”

“We are scratching the surface at the moment,” said Cattano.

Despite the uncertainty of the medium’s future, Heller is adamant that there are tremendous opportunities right now for people who work across creative disciplines. “In the short term there’s a serious lack of good producers who are nimble and have a youthful mentality that’s needed in a quickly evolving medium,” she said. “Great coordinator skills are in demand. If you’re a game designer it’s time to put together a reel to show how you think in 3D. If you’re in advertising and marketing it’s time to start looking at how native advertising will come to platforms. There’s a lot of room right now."

For de la Pena, audio design is key in making narrative VR experiences work, offering expansive opportunities for experts who have worked in the world of so-called “framed” video game development. “The gaming community already has a wonderful understanding of how to use audio to create momentum and lead players, and that is a crucial component of this work,” she said. “Being able to utilize techniques from game design world how do we move a story along without framing or close-ups; it has to be audio.”

The session also grappled with the issue of gender diversity in the medium. The panel, while expressing positive sentiments about the increased diversity compared to when VR first emerged, in the late 1980s, said that we still have a long way to go.

“The industry is still not diverse enough,” said de la Pena. “Fortunately VR is coming into its maturity at a time when we’re much more aware of gender imbalance; I’m hopeful that we will see a more diverse system. When I spoke at the first silicon valley VR gathering I was one of three women in a room of hundreds Come from Soccer 13 pools and matches . It’s improving all the time, but we’re not there yet.”

In Heller’s view, there are typically more women involved in film production side of film entertainment, something that has had an effect in increasing diversity in the VR industry. “On the gaming and tech side, it's been my experience that you see fewer women,” she said. “There are more women in the production industry. What’s exciting about VR is that, as these cultures come together, video with VR industries, we’re quickly getting more women coming in.”

A New PS5 Update Is Out Now

Sony has just released a new update for PlayStation 5 users. It has just left beta, but the update improves the mic and speaker for the DualSense controller, introduces new screen-share interactions, and offers an option to adjust brightness. Come from online casino bangladesh

Via the PlayStation Blog, we know the update will improve the controller speakers. They will now “produce higher volume sound,” making it easier to hear in-game sound and voice chats. Thanks to a new AI machine-learning model, noise cancellation has been improved, suppressing button pressing and game audio. Users can adjust the volume settings from the control center.

In addition, players can now use pointers and emojis whenever they’re watching someone via Share Screen. Whenever someone is using a pointer, they can send a ping or draw a line that’ll allow them to highlight areas for the host and viewers to see. This feature will be automatically turned on, but the host can turn it off in the Share Screen settings.

Last but not least, users can now adjust their brightness. To do this, they must go to the Settings tab, System, Beep, and Light, and finally select Brightness. From there, they’ll have the option to pick from dim, medium, or bright (standard) settings.

For more PlayStation news, check out our story detailing all the free PlayStation Plus games for March.

Crysis 4 Development Will Be Led By Hitman 3 Director

Hitman 3 game director Mattias Engstrom will be in the director’s chair for Crysis 4, developer Crytek has announced. Engstrom, who was a level designer on the first two modern Hitman games and later graduated to a directorial position on Hitman 3, also has credits working on Ubisoft titles such as Far Cry 3 and Assassin’s Creed Revelations. Come from Sports betting site VPbet

In addition to the game director announcement, Crytek also revealed that it’s currently recruiting for new roles on Crysis 4, as it seeks level designers, art directors, and game designers for the next chapter in the Crysis series.

Diablo 4's Dungeons Are Becoming Less Repetitive And Tedious Thanks To Beta Feedback

Diablo IV’s dungeons will be undergoing some big changes in the final version of the game to be less tedious and repetitive, thanks to player feedback.

In a new blog post, Blizzard dives into all the major changes the team is implementing based on feedback from the game’s record-breaking open beta Come from Sports betting site VPbet . One of the most common complaints, Blizzard notes, was about how Diablo IV’s dungeons frequently required backtracking in order to complete objectives as well as how similar the layout of many dungeons felt.

Disney Plus Hits Over 150 Million Subscribers, Hulu And ESPN Plus Also See Growth

Globally, Disney+ has reached 152.1 million subscribers, as of July 2, 2022. This was noted prior to the August 10 investor call. The streaming service has grown 31% globally in the last year..

For the United States and Canada, Disney+ has 44.5 million subscribers–with the total for the service being 93.6 million around the globe. The remaining 58.4 million come from Disney+ Hotstar, which grew from 44.9 million since 2021.

In May, Disney announced it closed the quarter with 137.7 million Disney+ subscribers, so over the course of the past three months, the streaming service has gained an additional 14.4 million subscribers.

Disney continues to release original programming on a regular basis, with the last quarter seeing the entirety of Obi-Wan and Ms. Marvel, two original series taking place in the universes of Star Wars and Marvel, respectively.

ESPN+ has 22.8 million subscribers, up 53% in the past year. Hulu also saw growth, year-over-year. Hulu saw an overall 8% increase to 46.2 million–this includes the live TV and the video on-demand services. More than likely, Hulu will continue to see growth in the United States with more profile movie releases, like the Predator prequel Prey.

In the upcoming months, Disney has a lot more coming to Disney+. Marvel’s new show She-Hulk: Attorney at Law arrives on August 18 and the next Star Wars show Andor arrives on September 21 Come from Sports betting site VPbet . Recently, the Toy Story spinoff Lightyear also arrived on Disney+ as well, so there’s always something high-profile arriving on the streaming service.

GameStop Stock Is Still High, But Seemingly Not Because Of The Company's Performance

Following the Reddit-influenced Wall Street battle over GameStop’s share value earlier this year, GameStop stock currently stands nearly 10 times higher than where it started in 2021. That may seem like an indication that the company is in a good place after a rough 2020, but, it remains clear the stock price is not directly driven by the company’s current performance, as evidenced by GameStop’s fourth quarter and fiscal 2020 results.

Net sales during the fourth quarter were $2.122 billion. That’s a slight decline from the same period during the prior year, when net sales were $2.194 billion, and a miss compared to analyst expectations. For the full year, net sales were $5.090 billion, compared with $6.466 billion the year prior. Comparable store sales dropped 9.5% for the full year (e-commerce sales, as you might expect, were up significantly, increasing by 191%). Come from Sports betting site VPbet

These declines are notable for occurring during an ongoing pandemic, a period which has led to an overall spike in sales for the games industry, and the launch of a new generation of consoles (PS5 and Xbox Series X|S), which also usually leads to an increase in game sales.

Among other things, GameStop cites store closures as a reason for the decline–both permanent closures it planned prior to COVID-19 and temporary ones due to the pandemic.

So yes, GameStop stock is still high–$181.75 per share at the end of Tuesday–but that’s most likely still a result of other factors, not just the performance of the business. In after-hours trading, the share price rose to $197 before dropping to $161 at the time of this writing.

GameStop, for its part, did not address the wild ride of its stock price in 2021 during its earnings call with investors, nor did it host the traditional Q&A session. The company also declined to provide guidance for 2021.

GameStop CEO George Sherman tried to highlight some positives in the earnings report, saying, “I am proud of how our entire organization came together in 2020 to adapt to the challenging pandemic environment, effectively serve our customers’ demand for gaming and entertainment products, and navigate through the year with strong liquidity and a strengthened balance sheet. Our execution led to a profitable fourth quarter that included a 6.5% comparable store sales growth, a 175% increase in global E-Commerce sales and a $92.6 million reduction in SG&A. The past year also saw us take steps to accelerate our de-densification efforts and streamline our store footprint, leverage our retail locations to provide same-day delivery and curbside pickups, and continue to enhance our suite of E-Commerce platforms.”

Following the release of the earnings report, GameStop announced that Jenna Owens (previously Amazon’s director and general manager for distribution and multi-channel fulfillment) has been hired to be GameStop’s new chief operating officer.

Alongside Owens, GameStop is bringing on two executives: Neda Pacifico as senior vice president of e-commerce, and Ken Suzuki as vice president of supply chain systems. Pacifico previously worked as the Chewy vice president of e-commerce, while Suzuki was the Zulily vice president of supply chain technology.

ผีนัดอุ่นราโยในโรงละครก่อนเปิดซีซั่น

แมนเชสเตอร์ ยูไนเต็ด เชิญ ราโย่ บาเยกาโน่ สโมสรจากสเปน อุ่นเครื่องแบบปิดในสนาม โอลด์ แทร็ฟฟอร์ด ก่อนเริ่มฤดูกาลใหม่


ก่อนหน้านี้ แมนฯ ยูไนเต็ด กำหนดคิวอุ่นเครื่องช่วงปรีซีซั่นทั้งหมด 5 นัดที่เริ่มจากศึก “แดงเดือด” ปะทะ ลิเวอร์พูล ที่สนามราชมังคลากีฬาสถาน ในประเทศไทย วันที่ 12 กรกฎาคม


ขณะที่อีก 4 นัดที่จะพบกับ เมลเบิร์น วิคตอรี่, คริสตัล พาเลซ, แอสตัน วิลล่า และ แอตเลติโก มาดริด ก็เป็นการเล่นนอกประเทศทั้งหมด


ล่าสุด สโมสรดังแห่งแมนเชสเตอร์ จัดคิวอุ่นเครื่องเพิ่มอีกนัดและลงเล่นในสนามโอลด์ แทร็ฟฟอร์ด ด้วยการเชิญ ราโย บาเยกาโน่ มาลับแข้งในวันอาทิตย์ที่ 31 ก.ค. โดยเป็นการอุ่นเครื่องแบบปิดไม่ได้เปิดให้แฟนบอลเข้าชม 


การอุ่นกับ ราโย บาเยกาโน่ ที่จะเป็นการคุมทีมข้างสนามในโอลด์ แทร็ฟฟอร์ด ครั้งแรกของกุนซือคนใหม่ เอริค เทน ฮาก จะเป็นการเตรียมทีมครั้งสุดท้ายก่อนเริ่มฤดูกาล 2022/23 ที่พรีเมียร์ลีกจะเปิดฉากเร็วในวันเสาร์ที่ 6 สิงหาคม 


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ชนภัชนำประสบการณ์ซีเกมส์ช่วยยู19

ชนภัช บัวพันธ์ ยอมรับว่าเขาพยายามเอา ประสบการณ์ทีได้จากรุ่นพี่ในซีเกมส์ มาพัฒนาและปรับใช้กับ ทีมชาติไทย U19 
สำหรับ ชนภัช ได้โอกาสลุยซีเกมส์ และมีส่วนช่วยให้ทีมได้เหรียญเงินมาครอง และก็ได้มารับใช้ทีม U19 ในศึกชิงแชมป์อาเซียน
“การไปซีเกมส์ครั้งที่ผ่านมาสำหรับผมก็ได้ประสบกรณ์ที่เยอะมาก เพราะพีๆในทีมก็ช่วยสอนอะไรหลายอย่าง และประคับประคองตลอด และพอได้อะไรมา เราก็พยายามนำมัมาแชร์กับเพือนๆ เพื่อยกระดับทีม” ชนภัช กล่าว
“ชุด U19 ก็ยังต้องพยายามเก็บประสบการณ์ ไปเรือยๆ เพราะว่า U23 มีหลยคนที่เล่นในไทยลีกมาแล้วและมีประสบการณ์มากกว่า”
“ทีมของเราก็พยายามซ้อมหนัก ลงทีมเพือหาข้อผิดพลาดมาแก้ไข มาพัฒนาให้ได้ต้อเนื่อง ผมคิดว่าเรายังทำได้ดีได้มากกวานี้ เพราะมันมีหัวข้อเก่าๆ ที่บางคนอาจจะลืมมันไป ก็ต้องมาทบทวนและซ้อมกันใหม่”
“ผมเองก็ได้คุยกับโค้ชซัลบา ก็อยากให้ทบทวนที่เราฝึกกันไว้ เพื่อให้มันไหลรื่น ก็ฝากแฟนบอลชาวไทย เชียร์พวกผมช้างศึก U19 ด้วยนะครับ”
โดย ฟุตบอลชายทีมชาติไทย รุ่นอายุไม่เกิน 19 ปี จะมีโปรแกรมอุ่นเครื่องอีกนัดพบกับ บ้านบึง เอฟซี ทีมระดับไทยลีก 3 ที่ สนาม เบียร์ช้าง ในวันที่ 26 มิถุนายน 2565 เวลา 16.00 น. (ไม่มีการถ่ายทอดสด)
สำหรับทีมชาติไทย U19 อยู่ในสาย เอ ร่วมกับ อินโดนีเซีย, เมียนมา, เวียดนาม, บรูไน และ ฟิลิปปินส์
โปรแกรมทีมชาติไทย U19 ในศึกชิงแชมป์อาเซียน U19 มีดังนี้
วันที่ 2 กรกฎาคม – ไทย พบ ฟิลิปปินส์ ที่สนาม แพทริออต คานดราบฮาก้า เวลา 17.00 น.
วันที่ 4 กรกฎาคม – เมียนมา พบ ไทย ที่สนาม แพทริออต คานดราบฮาก้า เวลา 17.00 น.
วันที่ 6 กรกฎาคม – อินโดนีเซีย พบ ไทย ที่สนาม แพทริออต คานดราบฮาก้า เวลา 20.00 น.
วันที่ 8 กรกฎาคม – ไทย พบ บรูไน ที่สนาม แพทริออต คานดราบฮาก้า เวลา 17.00 น.
วันที่ 10 กรกฎาคม – เวียดนาม พบ ไทย ที่สนาม มัดย่า เสนายัน เวลา 20.00 น.
ส่วนรอบรองชนะเลิศ จะแข่งขันวันที่ 13 กรกฎาคม และ รอบชิงชนะเลิศ จะแข่งขันในวันที่ 15 กรกฎาคม ที่สนาม แพทริออต คานดราบฮาก้า


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