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Member Since 13 Dec 2012
Offline Last Active Feb 06 2016 11:36 PM

#5073718 Where are the .a files in SFML 2.0?

Posted by on 28 June 2013 - 05:20 PM

Thanks for all the input and contribution to my problem guys!
The problem ended up being that none of the builds were compatible with my compiler. I needed to download a Nightly Build. I simply replaced the contents of the Nightly SFML with the ones in the current directory, rebuilt my C++ file and everything is working now.

My circle is on screen and I'm ready to sell it to Microsoft for a mere $120,000,000 and the rights to Halo.

#5072171 Basic Concepts of Programming

Posted by on 23 June 2013 - 01:46 AM

Thank you to everyone, over the past 24 hours (when it hasn't been someone telling me I'm asking the 'wrong' questions) I have gained so much understanding. I spent a good hour reading everything Norman Barrows had to say and then did a lot of research on it, all this time I've had no idea that a method and a function were the same thing, except methods are more used in Java and C++ is based on functions, they work the same way with differences based around whether they are related to an object or not. I am appreciative of all the examples given and I'm referring to this thread a lot, which has helped me learn more.

#5072012 Basic Concepts of Programming

Posted by on 22 June 2013 - 07:15 AM

I'm hearing a lot of fancy words the more I grow interested in programming. I don't really understand a lot of it. I wish programming tutorials would give more information about what they're talking about. Let's use C++ for example.

I know that setting a function to void means that it doesn't return a value. Returning 0 simply means that the program ran correctly. No programming tutorial has told me more than this. They have only ever elaborated on those facts. When I ask myself "In what situations should I set a function to void?" or "If I return 0 in another function, what would happen? Why would it cause an error?" I don't know how to answer them.


These might seem like insignificant details to you, because I could go on without them. But I want to know exactly when I should be using void, and when I should be returning a variable.


Object Oriented Programming is said to take data and code and put them into an object. They say this differs from traditional programming methods but I have no idea what traditional methods were and how different they were. I don't know the difference between my "code" and the "data". Can anyone please relate to me and see why I'm struggling?
It's almost like nobody bothers to sit down and take the time to explain why these things are so. Every tutorial I watch, book I read does not elaborate enough and it drives me up the wall. But enough complaining.


Can anyone give me some basic run through of the most basic principles of coding. I understand what integers are, floats, strings, booleans - for example. I know that it's more effective to use a single instead of a double when you're working with a smaller number, but why? I just need some explanations on common misconceptions and reasoning behind the crap I'm typing. I see it coming together, I see it working, but I don't know why it's working and I struggle to replicate it later because I don't know the reasons why I put certain things in places the first time.


If typing something up here is too much to ask for, that's probably right, lol. I'll appreciate any information or tutorials, videos etc. that anyone can link me to in terms of coding and their core foundations and reasoning behind its basic principles. Just the silly things that nobody bothers to elaborate on as I explained above.

#5071964 How exactly are video games made?

Posted by on 22 June 2013 - 03:37 AM

I'm hearing a lot of the same thing when it comes to this topic and it seems most people are pretty confident and in the same mind. So I can't help but think I must be missing something pretty crucial if I can't seem to rationalize the very concept that an entire community keeps talking about. I suppose this confusion comes from one primary basis, which is, how do you translate code into an interactive environment?
So I keep hearing, that people design models in Blender or draw them for use with animation, then they'd download some shaders and use Dynamic Link Libraries with all that support to examine and configure the input/output. I've heard it all.

What I don't understand is that there is a huge gray area in between where I am at now, and how any of that works. Truth be told, I could go and purchase Unity3D right now if I wanted to. Heck, UDK engine is free as long as 25% of revenue is handed back to Epic. I'm sure I could thrive off of that crap if I had the determination but I want to start from the basics and the reason I am doing this is because I want to understand the basics. I want to know how I got there. Not download an engine and have the fish handed to me, I want to learn how to catch the fish myself. Get it?


Here's my problem, then.

I've decided to use C++ (no, duh?) and I'm finding it to be typical in terms of Object Oriented Programming. That's great. I've learned all the basic concepts and I intend to keep learning before I even attempt to make my crappy spin off of Pong - but before we even go there, I want to get some answers on where you'd have to take the language to get that kind of interaction up on screen.


So far I've been learning about if statements, arrays, classes, variables, operators - all the noob jazz. If I want to get something up in console I'd just type cout << "Hello world!" << endl; in one of the statements in my main function and then return 0. SUPER simple stuff, I know. What I'm having trouble understanding is how I can go from typing text into a console, and using this exact same language to render graphics onto a screen and have characters move around. Let's say that I wanted to remake the original NES Super Mario's first level (no way I'm doing this, but hypothetically) in C++. How do I draw up a graphic of Mario with a running animation, add in a background and put in my static objects, and then interact with them. It looks good on paper to make all these objects and classes but I don't know how the hell you'd get there.

Can we really talk on the most basic level? Can someone explain this gray area to me? What steps does someone need to take to get from displaying text on a console to displaying interactive images such as Pong? To type "Game Over" would I still use the cout << "Game Over" << endl; statement or something completely different? Would I just call another class which tells it to position the text in the middle of the screen and in a white, ASCII font? I'm so confused and I can't even fathom how you'd get 3D graphics on screen with textures and enemy AI if I can't even grasp this concept.

Really, as I said. I just need a basic explanation, dumbed down as much as possible to its core foundations of how a programming language such as C++ displays images on a screen that a user can interact with in full functional environments. Even if it's just something like Pong, or the original Mario, or Donkey Kong. Really, really basic stuff.

#5012740 Simplifying game character

Posted by on 20 December 2012 - 02:41 AM

Unless you're looking to go down the path of Minecraft I wouldn't consider any of those routes an effective one for something you're taking seriously.

If you really had that kind of juice behind you (placeholders, artist hire) then I wouldn't assume it would be going into the game ideas section in the first place. But if you're convinced that this would be some kind of solution then it sounds like you've already got your answer and the most rational conclusion.

There aren't many other paths you can take without $$$.

#5011127 My survival horror game... Tell me what you think!

Posted by on 15 December 2012 - 07:52 PM

Just an idea I like where you are going with this! I think it has a ton of potential. One thing I as a gamer are often disappointed in when it comes to games that are supposed to scare me. Is that so many of them depend on pure uch factor. I mean I can only see a cows head grafted onto a human body or whatever sort of gross alteration of the physical form so many times before it completely looses meaning. Starting from their I think you can do allot with story. Why is this scary/disturbing the scary for me is more in the meaning than in the appearance. That being said if the appearance is original enough or similar enough to something normal I think it can be effective. Think about it why do dolls/children/clowns creep people out so much its because their is enough their that we can identify with the subject. As for general ambiance I think introducing another dynamic into the game could pull the gamer out of the survival horror mindset that they could more readily be disturbed.

Ok onto my final point. I always find it very disturbing if you are able to blur the line between the game and real world. For example weave historical fact into the plot line. Making the horror element as believable as possible. You could for example claim that the spirits exist in the world of dark matter. Of course then you risk going into the realm of science fiction. Then again is that such a bad thing. Another technique that I have seen used is to address the player directly. Perhaps by saying to them that this game is really a way for the spirits to try and communicate with them. That the characters in the game aren't real and the real goal of the game is to interact with the player. Im kinda a sucker for post modernism though.

My entire GDD is basically "don't stick to normal survival horror". My game relies on Half-Life 2 technique. There are no cutscenes, everything is told from the first person view and scripted sequences. The horror scenes, well, my scares aren't the most important thing to me.
I'm not sure what you mean by the pure "uch" factor but I assure you I will not be welding a cows head onto my enemies body. For most of the game you won't be able to see your enemies, for example one of my ghosts are invisible in the light, but in the dark you can see their eyes. It is these kinds of sequences I will leave up to their player to figure out to himself.

As for a real world element... I don't think it's for Dead Velvet. I want the player to sympathize with Pier, not with themselves. It's a good concept though.

#5010166 My survival horror game... Tell me what you think!

Posted by on 13 December 2012 - 06:06 AM

Hi all, I've decided to create a forum account on Game Dev because I wanted to sort of share my ideas with some people and get some feedback, I've already started coding this game in the Unity engine. I'd like to hear what you guys think of the story, and the mechanics. Suggest ideas that you would think would work in a game like this, please read carefully though and try to analyse what I'm saying. I want to have as much constructive feedback from you all as I can.

The Story
The game (titled "Dead Velvet") has two constant conflicting and sad storylines correlating with each other at all time. One often patronizing the other because of their deep differences. Although one story has ended, and the other is starting, they both have an equal amount of input into the game. For the purpose of chronological order and so that you can follow what is happening easier, I will start with the earliest point that this tale begins.

Alister Wilshire was the master of a house in England, just north of London in 1832. He was a cruel man, and a very violent one. He was raised in foster care by two violent women who would throw him in a basement every night where they would throw him half cooked fish to eat from the floor. At age 17 he killed one of the women who he called "Aunt", and was arrested near immediately. The court heard his plea and investigated the matter, and sentencing the woman who was still alive to a year in prison. He was left to his own devices after being excused, given the circumstances of his upbringing. He had absolutely no recollection of his mother or father, taking his Wilshire last name from the foster mothers, (The one who took him in, her last name was Hillshire, but he changed it to Wilshire shortly after killing her - also not to be confused, these two women were related and not a lesbian couple).

Developing a strong hatred for humanity, Alister started looking into weapon design and landed a job crafting spectacular pieces of work at age 21, gaining the attention of people all around. They looked up to him as a "prodigy for the country" and someone that would take England to a new level of technology warfare. He despised them though and claimed that he was only developing the weapons in order to provide more of the pathetic race a means to kill each other off so that he would not have to lay his eyes on them any more.
More importantly though, Alister was starting to make money, lots of money. He was very quickly becoming one of the richest men in all of North England leaving a lasting impact, and eventually founding "Wilshire Arms" - a weapons shop that escalated to one of the most famous and highest quality weapons stores in the country.

He began to get bored, though, no longer finding the pleasure in providing a means for them to harm one another. He decided to step down from his job, and take his money somewhere quieter where he could reside with his subtle burning hatred for the world. There was a hole inside of him that was quickly expanding into something much more. At a bar, a woman followed him home one day after he had something to drink. She claimed to find him the most strong and handsome man in all of England, but he brushed her off. Soon after she began pleading him to marry her, and she was not after his money - she was legitimately obsessed with Alister, and very young at only age 19 - he was into his 30's by this time.
Despite his growing hatred he decided to marry her, and bought a mansion for them to reside in. For 10 years they lived off the fat of the land, Alister would work in the fields whilst Sarah, his wife, would mend the house and keep it beautiful. But Alister still had the hole growing, and quickly became violent and destructive. Finally he began to push Sarah, screaming at her, hurting her and taking out all the pain that he had experienced onto her just as he had hated everyone else.

But one day the storm struck, Alister became fueled with so much rage that, upon browsing the newspaper one day he ordered in one-hundred and thirty two slaves being sold straight from Africa to work for him. This was for two million pounds at the time.
His wife was furious, but couldn't handle leaving Alister because she loved him so much and was in fear that he would harm her. Plantations were already disgusting many American citizens and they were even more rare in England. It was 1830 when this happened, and drawing very close to the time that they would be liberated.

By the time everything was set up, Alister had almost two-hundred African slaves in his fields, picking cotton and sewing his clothes. They were not allowed in his house under the impression that they would contaminate it. They would do the farming and wash all the crops for him, this was now the life that Alister had chosen. He treated these slaves with great cruelty, at one point drowning one of them in a river. It disgusted everyone around him but it was the breaking point for him, he had been overcome with evil and hatred for the world to a point of no return. Just when things could not get any worse, Sarah felt trapped with Alister and no longer wanted to stay with him, but instead of leaving, she fell in love with one of the slaves. His name was Aba. She would sneak out in the night to see him, visiting him and kissing him, and this went on for ONE YEAR. She would do it when Alister when to the bar, drinking, all the other slaves knew about it but supported her. They wouldn't dare help the man that destroyed their lives.

However, just as all things end. There was in fact a day when they were caught in the middle of the night. Alister found them together, in a shack. The door swung open on the two lovers, and the man that stood before them was someone who was a manifestation of all things vile and putrid. The look in his eyes was enough to strike fear into the bravest man's heart.
Without a word, he walked to Sarah, grabbing her by the head and throwing her into a wall. He then went to Aba and struck his stomach with a rake, leaving him to bleed and breaking his legs. He stood there, watching him for half an hour in the most excruciating pain with only the slightest bit of glee. But because he was so consumed with anger and hatred, and so satisfied watching this African man die, he did not notice Sarah coming behind him with a garden axe, slamming it into his back. At this point, Alister died. Sarah leaned on the dying Aba, who was about to pass away in tears, holding a shotgun to both of their heads. She pulled the trigger, killing both of them.

In 1833 a law was passed that all slaves should be liberated, so although they were required to continue working without ownership, they were soon set free to live their own lives thanks to Aba and Sarah. The house was closed off and not looked at again for many years. It was remembered by many as The Wilshire Estate, and nobody dared to enter it.
It was for good cause, though. The hatred that Alister held for all humans was so strong that it kept his spirit bound to the house, as the master, and also keeping Aba and Sarah with him inside. This was the place that he would torture their souls, and for so long he did this until one day there was a knock at the door.

Well, not really a knock. But more the door opening, to some Real Estate agents who were interested in selling the house. This was in 1850, as the house was passed onto the government because of the slaves, who passed it into Elder Gardens' care. They were a popular house management, building and reselling business trusted by many, and it wasn't before long that there was a quiet little family moving in. One man and his wife, and their little daughter Molly who was 7 years old.
Strange things happened to this family, and within months they were not themselves. Their daughter began to hurt herself, and the parents became angered. They started to get very scared by these changes and, for some reason, just before they were about to make the decision to leave the house they were all brutally murdered, and hung in the trees behind the house.

A letter was received to Elder Garden's shortly after from the family saying they had moved on due to unforseen circumstances and the house should be put into the care of Theodore Estates... who then sold the house again for 900,000 pounds. This time it was sold to a family of ten, including a grandfather and a small baby. All ten of them were murdered systematically in increasingly gruesome ways, and there was nothing left of them, but a letter which arrived at Theodore Estates' doorstep to resell the house.

This went on, and for some reason, nobody noticed. It was 200 years before there was a change in the system, and almost 100 dead bodies later. Alister had killed every one of them, trapping their spirits in his house with him and his hatred. They would kill anyone who dared to enter, and they haunted the very woods that surrounded the house in fear of Alister, who was the pure manifestation of evil.

--- That's the backstory of the mansion ---
--- Now onwards to the "game" ---

North England, 2012
Pier is a young actor who has a very bad anxiety disorder. He was married young to his wife, Elaine. The two have a very good relationship, although they often have trouble with Pier's constant emotional struggles. He is always paranoid that she may be cheating on him, or that something bad will happen. He hates horror movies, and can't stand anything that will put him on edge. Elaine supports him as much as she possibly can, often having to take him to the doctors or getting his medication for him when he's too nervous to go outside.

Elaine is a beautiful young writer who often writes screenplay for the sets that Pier involves himself in, both of them are wealthy and have a good life. Things are all going well until Elaine disappears.
This scares Pier so much, in fear that something may happen to her or that she is thinking of leaving him - these are the conclusions that he would jump to because of his trauma issues. A day later, he finds a letter addressed to her from - you guessed it, Alister Wilshire. Although, he was going under the name Asiret (Pronounced A-si-ray) Shilwer which is an anagram of his true identity (don't worry he only uses this for the letter). Inviting her to join him for a coffee and to talk about some possible writing opportunities.

Pier freaks out, grabbing the address from the paper (and of course she didn't need to take the page with her, we all have iPhone 5's and GPS's these days) and locating the address. It's only 45 minutes away from where he is, he drove to the address in a frantic panic scared for what may be happening to Elaine, and found a beautiful row of trees and a lovely white fence gleaming in the sun.

Posted ImageI've coded most of this bit, just thought it was relevant

and gets out of his car. This is where the game officially begins.

The Game (You just lost it.)

The gameplay elements are going to be different to that of normal survival horror. This isn't Slender or Amnesia. This is an ever changing interactive environment that wants to kill you. You'll constantly be trying to figure things out, solve riddles, and keep yourself safe. You'll get a gun, but it's absolutely useless. You won't be able to kill a goddamn thing with it (and that's a promise), but it will be useful for shooting rusted locks to open doors or to distract baddies.

You won't be able to see the amount of battery your flashlight has left, it will just be determined by the light it's giving out. You won't be able to see how many bullets you have left in the GUI, you'll have to actually open the gun up and count them, and individually replace them. Things are going to stalk you, and you're ultimately going to have to be tested in every aspect to win. This isn't a cheap scare though, it's an atmosphere. You won't have things pop out at you, I promise. You won't be chased every five minutes by a Zombie and feel constantly threatened, I'm trying to get across that some of these ghosts are lost, some are more powerful than others, perhaps even some have good in them, things vary. A lot.

For those of you who have played a Super Mario Bros. spin off titled Luigi's Mansion you'd be familiar with the ideas that will be implemented. Although a lot of things are different, it's relatively the same concept. You go through different rooms that you have access to in the mansion in order to gain access to more of them, you will have to endure different scares, solve different puzzles and riddles in order to achieve the goal, which is to find out what is happening to Elaine and ultimately get her back.

There will be boss battles, at the end of each area of the mansion you will be able to beat the boss. Technically you can go straight in and fight them as soon as you enter the mansion for the first time, but you'll die straight away. You actually have to go and find out about them, find out ways to defeat them and get a means to.
There will be a reason that all the ghosts in the house including Alister can't just detect and kill Pier like everyone else, (feel free to suggest ideas) so that it's realistic.

"Scares" are the games breathing point. I call them scares because... they're the scary bits. Y'know, the reason it's a survival horror title?

The games scares will be scripted, and not random. Things like furniture changing each time you go from room to room will be random, subtle things aren't included in this, but I mean when you enter a room for the first time.
One scare for example, is when you go into the bathroom to wash your hands in order to progress, and you see a twisted little girl in the mirror crawling along the roof in a dress with her head twisted around, no eye sockets and a severed black jaw. A steady horror sound will begin to play, if you look at the roof outside of the mirror - you will see nothing. If you look in the mirror again, she will be behind you. At this point you need to leave the room IMMEDIATELY or she will kill you. When you re-enter there will no longer be a threat in the room, just a silence and the sound of Pier breathing.

...So there you have it!
That's my game plan right now, and YES I typed this all up on Gamedev just for you guys to get some ideas and opinions. I noticed you guys are really responsive so I hope that you guys enjoy reading and give me some feedback.
Please give me all your ideas, sugggestions- even just let me know what you think. I'll be sure to add anything that I like in, and I'll give you full credit for the idea if I like it in one of the easter eggs - I'm carving the names of community members and people who helped develop ideas into the basement floor of one of the rooms with the thing they contributed.

If you've read this far, thank you so much for reading. You can email me at aesthetic.amorous@gmail.com for more details on the project.

When a pre-alpha is released, I'm more than happy to allow people to test it if you send in an application and agree not to distribute it. Posted Image Currently we're working on the forest and mansion design, and it's coming along very smoothly!

If you actually want to be a PART of the development team, we have a team of three which we're relatively happy with at the moment however we are still thoroughly reviewing all applications. You can view our (dated) application post here. I reposted it recently however the original post was in August.

Posted Image