We have mentioned and shown a couple of times that our basic level art is mainly made out of small chunks corresponding to pieces of geometry – flats and corners with different sizes and decorations. With colored outlines and world-mapped patterns this makes it relatively quick to add basic art to a level, but depending on the complexity of the geometry it can still take the better part of an hour.
Since we are only two people with limited time, a while back we added functionality to automate the placement of these pieces – removing the mundane tasks of giving the level shape and readability to allow us to focus on the creative side of making each level look distinct.
The brush is one of the central pieces of input in Backworlds – we have gone over a few iterations on how it works and we will probably go over some more, but these are some of the steps we have taken to get us where we are. Continue reading
Most of our data in Backworlds is stored in either XML or plain text. There are a lot of benefits to using human-readable data, it is usually trivial to add or remove information to the format without destroying backwards-compatibility and it is easy to make changes even before any tools have been written. That said, it is a lot less efficient than storing things in ready-made binary chunks and to reduce the performance loss we use a lot of hashing. Continue reading
We strive to bring an element of procedural generation to a lot of the art of Backworlds – this gives us the opportunity to create large amounts of content without spending too much time, but more importantly it gives us the opportunity to animate the art from the way it is generated. As an example, this is an in-development effect regarding a smoke particle.
Hello! after last month’s overview of some of our early graphical effects, I thought I would go into a bit more detail about one of them.
I started running Backworlds on a Surface Pro recently in order to determine how much work it would be to port the game to tablets – rather than the porting itself, the big challenges are how we change the controls to feel good on a tablet. The Surface Pro is practically a laptop running Windows 8 which meant I could immediately run the game, which was nice.
Since both of the Surface models come with a pressure-sensitive stylus this also gave me an excuse to connect this to the drawing – so if you are playing the game with a digital drawing tablet or display it would be more responsive. Implementing pressure-sensitivity with SDL in Windows wasn’t a straightforward affair though, so I thought I’d collect some of the things I learned in this post.
We are currently hard at work with the leveldesign (iteration, iteration…) and working out how the themes of the game tie into the narrative and aesthetics. Taking a break from that, today I thought I’d go over one of our effects.
In the Backworlds demo, we spawn the player character into the level by gradually drawing the icon into place. We liked the effect for this and decided to try and implement it in several places, today I will give a brief overview of our quick-and-dirty solution to doing this.
Last time, I covered briefly how our playback system works within the game client – strictly speaking this is everything we need, and in the beginning it was everything we used. It did require our testers to take an active part in sending us the playback files though, besides being unreliable it put higher demands on our testers and forced them to tell us directly how much they had played – removing some of the advantage of letting them play on their own terms. Continue reading
Put simply, playtesting is to design what QA is to engineering. It is not there so the testers can tell you what to do (although collecting feedback is a side benefit) but so that you can observe how your design and implementation performs with real data. Much has been said about how to do playtesting properly already – actually, Juha covered our own process a while back – so instead I will go into the technical details behind our own system. Much of it will be obvious, but hopefully there will be something to learn for someone.
A while back, in the editor basics video, Juha talked at some length about how we build levels by combining masks, patterns and color. We refer to these objects as HSVE objects after the color space, and today we are going to go over some of the reasoning and technology behind them.