Apologies for missing last month’s update – this was partly due to a personal hardship, lack of time due to day jobs and other obligations and – to be quite honest – a lack of things to write about. We have been refining designs for some time now and while it can certainly be interesting to look at individual puzzles and see how we changed them in response to playtest feedback, doing so now would be premature as we are not done with them. Also, it would spoil the puzzles themselves.
This month, I am going to tell you an anecdote about a bug hunt that was somewhat amusing as it illustrates the cascading effects small changes can have on a codebase.
One of the things I am currently working on is an architectural change to the engine- previously, our most basic graphic object would be rendered with a 2-component vector designating position (translation in OpenGL terms) and another 2-component vector designating orientation, or rotation and scale. This has worked fine for us so far, but it means we have to modify the vertex geometry of the object if we want to do nonuniform scaling or shearing. Petri and Martin talked about “juice” in a great GDC talk from a few years back, and in order to make the game more juicy I thought about the 12 principles of animation – more specifically squash/stretch – which meant we needed more options. Thus, the basic graphic transformation is now described by a 2×3 matrix just like fixed-function pipeline uses 3×4 (4×4 actually, usually only the first three columns are relevant for world transform) to give us more options.
Now, I normally do not like to talk about features that are in such early stages of development – there is simply nothing here to look at, and if it doesn’t pan out there’s not much to learn from it. We do a lot of experiments in code as well as in design, and a good chunk of that work will never see the light of day. Doing this change, however, gives me an opportunity to talk a little bit about the history of the engine and the KISS principle which, when I have interviewed and evaluated engineers in the past, has been a common problem for inexperienced software engineers.
I want to write about my own fluctuating motivation for Backworlds this month, this will be mostly personal so I won’t go into Anders feelings on the same subjects.
Our progress has been slow the last half year, with some stints of hard work with building level progression, adding some new mechanics and preparing gameplay tests. Just like Anders I have a full-time job within computer software and I find it exhausting to sit at the computer 8 hours a day and then go home and work for several hours more on our game. Which I have done in certain periods, but I personally can not keep it up for too long. Besides the mental drain it is plain bad physically to be static that much of the day and it is not very social so it takes a toll in several ways.
I do constantly think about the game however as me and Anders discuss it every week. At the moment we are talking a lot about how to present the story and we are experimenting with different implementations. It certainly helps to have another person to keep you on your toes and not procrastinate too much. The fact that we have people that have contributed money to our development and that there are people who seem to like the game is also very important and helps me keep coming back to it.
Perhaps it sounds like I have to force myself to work on it, but I really do love it. It gives me artistic satisfaction in a way nothing has done before. I’m proud of what we are making together and I want to make clear I’m not looking for sympathy about my “exhaustion” mentioned above. I only want to explain and perhaps you can relate to this if you are within software/game development yourself as many of us tend to have hobby projects.
Thanks for reading!
A few months ago Juha talked about our “no paint” levels and why we decided most of them had to be scrapped – today I will briefly go over some of the ideas we toyed around with in the original “Backworld” prototype and why they had to go.
The game was made in a very limited time – we were not really sure what kind of game we wanted to make and we opted to make many levels rather than a small amount of polished ones, so cutting these ideas were not as tough of a decision. Nonetheless, it explains some things about the nature of the game as it is now.
I apologize for missing our monthly blog post at the beginning of the December, I was just quite busy so didn’t have time to think of something good. The latest news on the game is that we have been running a new round of gameplay tests and have prepared for another one in January.
We want to thank everyone who have given us feedback through the year and to all of our supporters! Here’s a holiday greeting from us both!
– Final Fantasy 8 – Fishermans Horizon (Christmas Version) OC Remix by Goomin Nam
– Donkey Kong Country – Christmas Cave OC Remix by Deimos
The kind of work we do can be very sporadic in that we wear many different hats as developers and without any strong deadlines we are free to experiment with things we may want to add further down the line. While being detrimental to progress (and, to be honest, maybe the biggest reason why we’ve spent so long on this), it does mean we are free to work on what we like. Enthusiasm is important too.
One of the things that we have been experimenting with is player customization – I personally have been torn on what to do with that, as we did not want to give the impression that your loadout somehow affected your ability to solve puzzles, and I did not want to make vanity items that could be confused with free-to-play moneysinks. In the end though, personal expression is meaningful and with the simplicity of our art customization is a pretty quick thing to do. One of the things we’ve created for customization is the ability for the player to change the avatar color with this hue wheel.
We have talked briefly about the story and narrative for Backworlds on previous occasions but I thought I would try to further extend our thoughts in this post. The most impactful decision we have made regarding this topic is that the story and narrative structure completely takes a backseat to our gameplay.
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.
Something that I’ve always agreed with is the sentiment that if you try to please everybody, you end up pleasing nobody. Perhaps this applies to many things but specifically within games it something I often hear and read, mostly voiced by developers and enthusiasts.
Those are mostly opinions but I would like to share how I came to find it applies to Backworlds.
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