Archive for the ‘Design’ Category

Future updates

Saturday, July 3rd, 2010

Dear ANGRY CUSTOMER,

First of all, thank you for your words. Let us remember them: “SERIOUSLY YOU ADDED OPENFEINT? WTF IS WRONG WITH YOU.” You did not reveal your email, so we are unable to answer you properly. But let this letter be both an answer and an announce.

Many players have written us asking for leaderboards, but certainly none of them used such gentlemanly ways. We are unsure whether you are angry because there are no leaderboards or because, as we announced in Twitter, we will be using OpenFeint to implement them. Nevertheless, we truly thank you for your contribution and your overall gentleness.

Other somewhat less rude emails ask for  a solution for the high risk that Oddy takes when he uses a catapult, a rocket or a teleport. Well, when we designed Oddy Smog we talked a lot about that. We thought that, as these three cogs are short cuts, they should not be reliable. Players would be forced to decide if they take the risk in order to climb faster.

But we also understand that it may be somewhat frustrating! So our next update will include two things: OpenFeint (yes, leaderboards!) and a new feature in Oddy’s manouver habilities that will grant him a second opportunity, thrusting him towards a wall in order to avoid a certain death. Once used, only freeing prisoners will activate it again. You will have to use it with care!

We are sure you will enjoy both upgrades.

Thank you for playing!

Medusa.

PS: We use ‘him’ for Oddy, but that does not mean anything at all!

Pixels

Thursday, April 8th, 2010

Enjoy this awesome short movie where Patrick Jean, from One More Production, recreates an attack to the City of New York carried out by 8 bit characters from videogames. Arkanoid, Tetris, Pac-man, Donkey Kong… They all share the aesthetics of the 3D-pixel (aka voxel) objects from 3D Dot Game Heroes (upcoming PS3 title), but they are perfectly integrated in real images from New York.

Lovely how Tetris pieces dismantle buildings by completing lines or how the Arcanoid pads destroy the bridge.

Check One More Production’s site for a better quality video!

Game designers used to be innocent, you know?

Tuesday, March 9th, 2010

They used to create games that were simply FUN. But at some point, someone read something about operant conditioning and thought “um… that’s already in videogames. But what if…”, and videogames became Skinner Boxes to bring us all and in the darkess dim light of our living rooms bind us.

David Wong shows in this article that we are just rats pressing some levers to get food. But damn it, its terribly entertaining!

Some pearls:

“Your brain treats items and goods in the video game world as if they are real. Because they are (…) If it takes time, effort and skill to obtain an item, that item has value, whether it’s made of diamonds, binary code or beef jerky.”

“(…) people pay thousands of dollars for diamonds, even though diamonds do nothing but look pretty. A video game suit of armor looks pretty and protects you from video game orcs.”

“The terrible truth is that a whole lot of us begged for a Skinner Box we could crawl into, because the real world’s system of rewards is so much more slow and cruel than we expected it to be. In that, gaming is no different from other forms of mental escape, from sports fandom to moonshine.”

But it’s not just a matter of addiction. It’s the pure power of fantasy and imagination striking not a chord but  a whole sonata in us. Nothing better than Frank Budgen’s Double Life PlayStation ad to sum up what playing a videogame means:

For years, I’ve lived a double life.

In the day, I do my job – I ride the bus,
roll up my sleeves with the hoi-polloi.

But at night, I live a life of exhilaration,
of missed heartbeats and adrenalin.

And, if the truth be known,
a life of dubious virtue.

I won’t deny it – I’ve been engaged in violence,
even indulged in it.

I’ve maimed and killed adversaries,
and not merely in self-defence.

I’ve exhibited disregard for life, limb and property,
and savoured every moment.

You may not think it, to look of me,
but I have commanded armies,
and conquered worlds.

And though in achieving these things
I’ve set morality aside,
I have no regrets.

For though I’ve led a double life,
at least I can say – I’ve lived.

Design outside the box

Tuesday, February 23rd, 2010

Ok, if you like game design you MUST watch these videos. Jesse Schell talks about some intelligent game designs and how games are invading… REALITY. Some thoughts to think about! You did it? pling!

Designing Sound Juggler

Friday, January 29th, 2010

The premise for our first project was clear: a game simple enough that could be created in one or two months, without compromising quality.

Nowadays, physics is usually the answer to these constraints (just in case you have been living in a cave for some years, check 2DBoy’s World of Goo and Petri Purho’s Crayon Physics Deluxe), so we decided to play a little bit with Unity’s built-in physics engine.

Gameplay design

We came up with a basic game mechanic: juggling. The game would be centered on keeping an increasing number of balls in midair by simply touching the screen to create bumpers (as in pinball games), which would grow and fade, quickly disappearing. Balls would be thrown upwards after hitting a bumper, awarding points with each hit. Finally, bumpers placed higher would be weaker than those placed in lower regions, and they would also lose strength while fading.

Easy enough! Collisions, gravity and thrust forces would be handled by the physics engine, so we would focus on tunning gameplay, designing additional features and adding some bells and whistles…

Visual design

We wanted a bright neon look, so our balls… er… our juggling balls are represented by light glows, while bumpers look like laser rings. Moreover, glows are  even brighter when they collide, and they leave a trail and some good old-school particles behind them: the older the glow, the larger the trail.

We also added two particle effects. One of them created bright sparks with each collision. The other one was inspired by Futurama’s opening animation: when a new glow comes into play, bright rays of light spout out from the lower part of the screen.

Audio design

We also wanted Sound Juggler to be a musical experience. Three unique music themes were composed, each one spawning five tracks that feature increasingly more complex arrangements. Which track is played depends on the number of glows in game. That way, music is quiet with one glow but it fills your ears with five, changing continually depending on how you play.

We also divided space in a number of vertical bands, assigning each band a note and a given musical instrument. Obviously, scales and sounds were chosen to fit the underlying soundtrack. Each time a glow collides with a bumper or with another glow, a note is emitted depending on the glow’s position. It results quite fascinating listening to melodies that emerge from almost-random collisions!

Powerups

Gameplay is seasoned with three powerups that modify different conditions temporally, both positively (green icons) and negatively (red icons). They affect three variables: bumper size, bumper fade time and glow speeds. A fourth powerup, the skull, ends the game. However, the probability of skulls appearing only increases significatively if the player places bumpers indiscriminately, forcing her to play wisely.

Scoring system

We wanted scores to grow exponentially if the player played well, and we came up with a nice but rather obscure scoring system based on multipliers that fulfilled our goal. It uses the following values:

  1. Base points: with each glow-bumper hit, the base amount of points is set. Older glows award more points, using the following progression: 10 seconds or younger, 1 point; 20 seconds, 2 points, 30 seconds or older, 3 points (p)
  2. Difficulty level multiplier: easy mode x1, normal mode x2, difficult mode x3 (d)
  3. Square of number of glows in game multiplier (g^2)
  4. Hits in a row multiplier: number of consecutive glow-bumper hits without losing a glow (r)
  5. Mid-air collisions multiplier: number of glow-glow collisions between glow-bumper hits (c)
  6. Height modifier: measured between zero (higher play region) and one (lower play region). Playing in the lower region is risky (if you miss a glow, you will probably lose it!), but it is rewarded! Thanks to this modifier, the same glow may score 1 point… or many thousands! (h)

Thus, each glow-bumper hit awards points using the following expression:

points = p · d · (g^2) · (1 + r) · c · h

You may be wondering whether all this was necessary. Well… it serves its purpose! You get more points if you dare to play in difficult modes, if you keep many glows in play, if you play in lower regions and if you produce sound from glow-glow collisions. What for?

You will unlock all music themes and Etch Your Name In History…

Enjoy Sound Juggler: a game that is meant to be played with, at least, three senses.

… until you delete Sound Juggler from your iPhone, I guess. Which of course you won’t do because you will love it.

Watch the in-game trailer, it looks great, although it will look even better in your own iPhone. And do not forget your headphones!