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      GameDev.net and CRC Press have teamed up to bring a free ebook of content curated from top titles published by CRC Press. The freebook, Practices of Game Design & Indie Game Marketing, includes chapters from The Art of Game Design: A Book of Lenses, A Practical Guide to Indie Game Marketing, and An Architectural Approach to Level Design. The GameDev.net FreeBook is relevant to game designers, developers, and those interested in learning more about the challenges in game development. We know game development can be a tough discipline and business, so we picked several chapters from CRC Press titles that we thought would be of interest to you, the GameDev.net audience, in your journey to design, develop, and market your next game. The free ebook is available through CRC Press by clicking here. The Curated Books The Art of Game Design: A Book of Lenses, Second Edition, by Jesse Schell Presents 100+ sets of questions, or different lenses, for viewing a game’s design, encompassing diverse fields such as psychology, architecture, music, film, software engineering, theme park design, mathematics, anthropology, and more. Written by one of the world's top game designers, this book describes the deepest and most fundamental principles of game design, demonstrating how tactics used in board, card, and athletic games also work in video games. It provides practical instruction on creating world-class games that will be played again and again. View it here. A Practical Guide to Indie Game Marketing, by Joel Dreskin Marketing is an essential but too frequently overlooked or minimized component of the release plan for indie games. A Practical Guide to Indie Game Marketing provides you with the tools needed to build visibility and sell your indie games. With special focus on those developers with small budgets and limited staff and resources, this book is packed with tangible recommendations and techniques that you can put to use immediately. As a seasoned professional of the indie game arena, author Joel Dreskin gives you insight into practical, real-world experiences of marketing numerous successful games and also provides stories of the failures. View it here. An Architectural Approach to Level Design This is one of the first books to integrate architectural and spatial design theory with the field of level design. The book presents architectural techniques and theories for level designers to use in their own work. It connects architecture and level design in different ways that address the practical elements of how designers construct space and the experiential elements of how and why humans interact with this space. Throughout the text, readers learn skills for spatial layout, evoking emotion through gamespaces, and creating better levels through architectural theory. View it here. Learn more and download the ebook by clicking here. Did you know? GameDev.net and CRC Press also recently teamed up to bring GDNet+ Members up to a 20% discount on all CRC Press books. Learn more about this and other benefits here.
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About this blog

Musings about animation. Postings of animation. Animations of animation.

Entries in this blog

ctriolo
Well! Now that I'm back in the groove of things it's time to start posting on a regular basis. Thanks for the warm welcome last post! I really appreciate it.

Now, I promised I'd ramble on and on about things, and now I'm making good on that!

Right now I've just finished up doing some monster designs for an upcoming Dredmor patch, so let's talk sprite design. Dredmor is a bit of an unusual game in that the art style can often be all over the place (at least 4 artists have contributed over the years to its various monster sprites), so I have a bit more leeway to go in different directions with the new ones that I make. That said, there are some things that are just always important when I sit down and work on a new sprite.

I beleive that the most important thing when it comes to sprites is readability. Players need to know what they're seeing and what the thing they're seeing is doing, even in the midst of a huge mess of effects. The faster someone can realize what they are seeing when they look at a game screenshot, the easier it is on the eye. Even though dredmor is not an action game, I believe very firmly in keeping strong readability in its sprites - not just because of how busy the screen can get, but because art is such an important part of dredmor; readable sprites are always better art.

I think that good design can generally be broken down into steps.

Fun2.gif
This is an example from the TIGsource forums where I took a rather boring-looking sprite and made it a bit more interesting. I've laid it out so that the distinctive elements can be easily recognised.

1. Interesting posing / silhouette. I really think this is vital to making a character recognisable and appealing. Think about times in games when the screen has flashed white and you only see a black outline of your character. How many of those times were you confused as to which thing on screen was your char? Not very often, I'd wager.That's because the character was designed to stand out from others, all the way down to the "outline".

black_silhouettes.png
Silhouettes of the new set of monsters I'm making for dredmor. Notice how each one conveys a significant amount of WHAT the char is, despite having no color or interior detail.

2. Non-uniformity. Stripes on clothing, bangs, whatever. It's important not to fall into the trap of thinking of everything as a simple, symmetrical shape. Details can be added everywhere and breaking up a character's design with little things is a great way to make them distinctive and memorable.


The Cloud Gremlin went through a number of (shall I say, rather ugly) aborted designs before I finally came up with something appealing.
Shitty Designs
uglygrem.gif
Non Shitty Design
Gremlin_Step2.png
He has a very simple character design, but adding the flight helmet with goggles was what really made him click with me, taking him from "boring monster" to something perhaps a bit more charming. Adding context and "story" for players to think about - suggesting there's more to the universe than just what the game shows - really brings characters to life.


3. Good color palette. This is EXTREMELY important with sprites, especially smaller ones. Color selection says a ton about a character, and ideally it should be one that is easy on the eyes at any resolution. A lot of beginners like to stick with pure, fully saturated colors for their sprites, but this can cause a bit of eye strain due to all the bright clashing. Brightness used sparingly can often be a lot more effective and eyecatching than brightness everywhere. Note that another important use of color is to separate out parts of the character. In the initial example at the top, the green backpack really stands out and gives the character a nice detail that's both interesting to animate and recognisable for the player. It'd be much less distinctive if it weren't such a unique color!

The original concept for the Shield Crab was fairly similar to the end result, but had a few color issues.
crust_old.gif
Crab_Step3.png
The Shield Crab could easily clash with itself or other nearby objects with the wrong color palette. Bright red, in particular, can be very hard on the eyes. Here, I'm going with a slightly desaturated purple-red to ease the color a bit. Similarly, the armor is tinted slightly blue to give it a softer feel. I think the result is fairly pleasing to look at.

4. Good shading. This is a tricky one and a subject all unto itself, but simply put - a well-lit character can make all the difference when it comes to readability. Good lighting defines the dimensionality of a character and lets you know how they're shaped. Bad lighting just confuses the eye. I find the best way to keep yourself aware of whether something is readable is to zoom way out and see if you can still tell what you're looking at. If it degenerates into a mishmash of colors or is otherwise unrecognisable, something is wrong. It's also important not to go overboard - it's entirely possible to shade something with such complexity that it becomes difficult to read from farther away; people don't always end up looking at screens of a game from the most ideal angle or resolution.

While the main problem with this original design was that it didn't look much like a Rutabaga at all, the basic "face shading" stayed the same througout.Having that strong light source from the right is key to making it clear exactly what was going on with the character - as is keeping the bright areas small enough to give a real sense of roundness. Sometimes less is more when it comes to shading.
ruta_old.gif
Rutabaga_Step4.png
Shading larger surfaces can be tricky when it's interlaced with a number of color changes. However, if you step back and squint, you'll notice the lit "front" of the character stands out very distinctly. This is super important! People will be able to tell what it's shaped like, no matter how far away they are.


Other_Three.png
These three characters barely changed at all from their initial concepts, and I'm pretty happy with how they all turned out.

Fun times! Spriting for Dredmor really lets me experiment with a wild variety of characters. Next post I'll likely be in the throes of animating these characters and you'll get some rambling on that subject.

Also, I'd love to hear your comments / questions / things you'd like to see me blog about. I wanna make this a very feedback-y blog biggrin.png
Thanks for reading!
FunWat.gif
ctriolo

Hurr! Also intro post.

diggle_pop_2.gif
Well! Hello there. Mr. David Baumgart (who is currently my boss) referred me here, as apparently this site is awesome. And here I am!
I'm prone to rambling a lot, so I will include something animated with each paragraph to keep you from getting bored.

Name's Chris Triolo. I'm an animator, currently working on Dungeons of Dredmor's expansion and other post expansion mabobs. I'm here for a number of reasons!

FunWat.gif
(A fun little animation I made for someone on the TIGsource forums
who was asking for advice on making appealing pixel characters.)


1. Get more exposure to and discussion with the dev side of game development, especially in how it relates to art / animation.
As an artist it's pretty easy to be insulated and isolated from the other end of game development - but it's also important I know about what's going on over there to make my art the best it can be for the game. Context is important! And it helps a lot with preventing that "Oh god, this animation looks amazing by itself but makes no sense in-game" moment. I find all aspects of game-dev interesting, even if I'm only involved in a portion of it... and in my experience, learning more has always been a good thing.

Aura_Run.gif
(My avatar on most forums - a somewhat metroid-inspired run cycle.)

2. Post my animations and probably rant about them in some way or another.
This one's pretty obvious! I love talking on and on about animation. I'm also hoping to find some inspiration here for personal work! Maybe some challenges or ideas. Looking at what other people are creating always gets me excited, frankly, and I wanna harness that for the creation of MOAR ART.

1xLightning_4.gif
(A looping spell effect for Dredmor - not sure if this one's been implemented yet!)

3. Probably look for some more freelance work!
Working on dredmor is awesome! But it doesn't always take up all my time, and who knows how long the game will still need more content. Gotta diversify! Dave (dbaumgart on the site here) has been very happy with my stuff, and I'm very confident that I can adapt to just about any style given a bit of time.

hero_run_d_13.gif
(Dredmor's female hero! All in all, I ended up making over
500 frames of animation for this alternative to the male character.)


That's pretty much the long and the short of it! I plan on making a few posts about my work for Dredmor, but that'll come later - for now, I'm just interested in meeting people! Here's hoping I get some commenters :D

Thanks for reading!
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