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      Download the Game Design and Indie Game Marketing Freebook   07/19/17

      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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  1. Hi, I'm currently working on an infinite runner game, which like every infinite runner game will have an infinite runner mode . However, I also wanted to add a story in there, and hopefully, make it more interesting to the player. I wanted to do this via a campaign mode. It would be short, about 5-7 levels. It would introduce the character to the world, controls, items, and tell them a story that they would enjoy. After completing the campaign, free play mode would be unlocked and you could shoot for those high scores. My question is this. Is there a recommended 'length of a level' in such a game. I haven't seen many infinite runners that are level based, since that is an oxymoron. Is there a general rule of thumb that says make it X number of screen lengths? I would really appreciate any input here, but I don't want to make them too short, and I don't want to make them too long either. Right now, I'm just going to design the campaign levels, try and accomplish the goal of the level, introducing the player to whatever I want them to see, and move on. I realize this a vague question, but I would really appreciate any and all feedback. Thank you!
  2. Snake movement probably has been asked and answered many times before. I managed to do some basic snake movement. But I find it hard to fix the distance. Let me explain my problem. The code I am using is like this: const dx = this.tracer.x - this.x; const dy = this.tracer.y - this.y; const actualDistance = Math.hypot(dx, dy); this.vx = this.tracer.speed * ( dx / actualDistance ) || 0; this.vy = this.tracer.speed * ( dy / actualDistance ) || 0; if (actualDistance >= this.distance) { this.x += this.vx; this.y += this.vy; } else { this.x += lerp(0, this.vx, actualDistance / this.distance); this.y += lerp(0, this.vy, actualDistance / this.distance); } The above code is in the "update" function of each snake segment. Each segment will follow the previous segment to its target position. The tracer means the body which is following by current body. The distance is a pre-calculated fixed value. I want to move the snake at normal speed, or at a higher speed, or slow down to normal speed. Like that in slither.io. This is not hard to do using my script. I can move my snake at normal speed or speed up or slow down with all the bodies following the previous one. I can also turn or rotate the snake smoothly. But there is one problem when I try to move fast and rotate at the same time. The snake will squeeze shorter which means all the distance between two adjacent bodies become shorter. So the snake looks like a smaller one when it is doing a fast turn. This will last until it slows down its speed to normal and it's back to its normal shape. All I want is make it same size as normal no matter how I turn or rotate the snake at any speed. Can this be achieved?
  3. Hello everyone. I'm fairly new to game programming and I've started the beginner's path to learning how to do game programming incrementally, as suggested by Alpha_ProgDes (hope I spelled his name right) in his fantastic article about Game Programming for Beginners and the 10 requisite games that you absolutely need to know and finish in order to get real game programming experience. After about 4 or so months of trial and error and growing pains, I was able to complete a working (but not perfect with lots of bad practice, global variables, etc.) copy of Pong, Snakes and Breakout. Right now I'm just doing enough to get the games to work (passable) and then later, I will go and re-do them after getting better at this. Currently, I'm on the fourth game of this list, which is Missile Command, and I'm only a little bit into the game and I'm now stuck on the first 'logic' aspect of just getting the cannon to rotate and change angle based on the position of the mouse. No matter what I've tried, I just can't seem to get the cannon to angle properly as per the precise location of the mouse. When I run the game, the cannon will move arbitrarily towards the right side, but never turn and angle to the left, even if my mouse is on the left-hand side of the game screen. I've created some test output for the x and y coordinate of the mouse position as well as the cannon's angle but it hasn't helped me that much yet. If it is allowed in these forums, I can record a small video that shows the output and paste it here as a link. But I'm not sure. Here is my code for main as well as the Game, Vector2 and Cannon classes (I have other classes but I told myself I would only work on them once I've solved this particular logic problem): main.h #ifndef MAIN_H_ #define MAIN_H_ #include "game.h" int main(int argc, char* argv[]); #endif // MAIN_H_ main.cpp //****************************************** // Missile Command - v1.0.0 // By: Pedro Miranda Jr. (Glydion) // // Start Date: Wednesday May 31, 2017 // Finish Date: //****************************************** #include "main.h" int main(int argc, char* argv[]) { // Create the game object Game* game = new Game(); // Initialize and run the game if(game->Init()) { game->Run(); } // Clean up delete game; return 0; } Vector2.h #ifndef VECTOR2_H_INCLUDED #define VECTOR2_H_INCLUDED #include <math.h> class Vector2 { public: Vector2(); Vector2(float x, float y); ~Vector2(); float x, y; }; #endif // VECTOR2_H_INCLUDED Vector2.cpp #include "Vector2.h" Vector2::Vector2() { } Vector2::Vector2(float x, float y) { this->x = x; this->y = y; } Vector2::~Vector2() { } Cannon.h #ifndef CANNON_H_INCLUDED #define CANNON_H_INCLUDED #include "Entity.h" #include <math.h> // Define a missile speed in pixels per second /*const float MISSILE_SPEED = 550; class Missile : public Entity { public: Missile(SDL_Renderer* renderer); ~Missile(); void Update(float delta); void Render(float delta); void SetDirection(float dirX, float dirY); float dirX, dirY; bool state; // Check if the missile is alive private: SDL_Texture* texture; }; */ class Cannon : public Entity { public: Cannon(SDL_Renderer* renderer); ~Cannon(); // x, y, width and height for base piece float baseX, baseY, baseWidth, baseHeight; // cannon pipe angle double angle; // Missiles that the cannon fires //Missile missile; // Fire a missile //void FireMissile(); void Update(float delta); void Render(float delta); float GetCenterX(); float GetCenterY(); private: SDL_Texture* cannonTexture; // Texture for cannon pipe SDL_Texture* baseTexture; // Texture for cannon base SDL_Point center; }; #endif // CANNON_H_INCLUDED Cannon.cpp #include "Cannon.h" //****************************** // Missile function definitions //****************************** //****************************** // Cannon function definitions //****************************** Cannon::Cannon(SDL_Renderer* renderer) : Entity(renderer) { // Create cannon pipe texture SDL_Surface* surface = IMG_Load("images/cannon-top.png"); cannonTexture = SDL_CreateTextureFromSurface(renderer, surface); SDL_FreeSurface(surface); // Create cannon base texture surface = IMG_Load("images/cannon-base.png"); baseTexture = SDL_CreateTextureFromSurface(renderer, surface); SDL_FreeSurface(surface); // Set the cannon pipe's dimensions width = 32; height = 48; // Set the cannon base's dimensions baseWidth = 64; baseHeight = 24; // Set the cannon pipe's vertical position x = 417 - width; y = 505; // Set the cannon base's vertical position baseX = 432 - baseWidth; baseY = 545; // Set the cannon pipe's rotation pivot point center.x = (width / 2); center.y = height; // Set the cannon pipe's angle angle = 0.0f; } Cannon::~Cannon() { // Clean resources SDL_DestroyTexture(cannonTexture); SDL_DestroyTexture(baseTexture); } void Cannon::Update(float delta) { } void Cannon::Render(float delta) { // Set source rectangle for cannon pipe SDL_Rect rect; rect.x = (int)(x + 0.5f); rect.y = (int)(y + 0.5f); rect.w = width; rect.h = height; // Render the cannon pipe SDL_RenderCopyEx(renderer,cannonTexture,0,&rect,angle,&center,SDL_FLIP_NONE); // Set source rectangle for cannon base rect.x = (int)(baseX + 0.5f); rect.y = (int)(baseY + 0.5f); rect.w = baseWidth; rect.h = baseHeight; // Render the cannon base SDL_RenderCopy(renderer,baseTexture,0,&rect); } float Cannon::GetCenterX() { return center.x; } float Cannon::GetCenterY() { return center.y; } Game.h #ifndef GAME_H_ #define GAME_H_ // Preprocessors #include "SDL.h" #include "SDL_image.h" #include "SDL_ttf.h" #include "SDL_mixer.h" #include <iostream> #include <sstream> #include <stdio.h> #include <math.h> #include <cmath> // Inclusions for game objects #include "Cannon.h" #include "Vector2.h" #include "Ground.h" #include "Silo.h" #define FPS_DELAY 500 class Game { public: Game(); ~Game(); bool Init(); void Run(); private: SDL_Window* window; SDL_Renderer* renderer; SDL_Texture* texture; // Timing unsigned int lastTick, fpsTick, fps, frameCount; // Test float testX, testY; /* Fonts for testing */ TTF_Font* fontMouseX; TTF_Font* fontMouseY; TTF_Font* fontCannonAngle; std::stringstream xValue; std::stringstream yValue; std::stringstream angleValue; SDL_Texture* xTexture; SDL_Texture* yTexture; SDL_Texture* aTexture; int xWidth, xHeight, yWidth, yHeight, aWidth, aHeight; /* END */ // Game objects Cannon* cannon; // The cannon, both the pipe and the base Silo* silo; Ground* ground; // The ground SDL_Cursor* cursor; // The crosshair cursor Vector2* target; // The vector of the cursor void Clean(); // Cleanup function void Update(float delta); // Update game elements void Render(float delta); // Render game elements void NewGame(); // Start a new game double ConvertDegrees(double radians); // Convert radians to degrees void SetCannonAngle(Vector2* theVector); // Set the angle of the cannon pipe void ExplodeMissile(); // Explode the missile once it // has reached the target void CheckAsteroidCollisions(); // See if missile hits asteroid void CheckSiloCollisions(); // See if asteroid hits silo int GetSiloCount(); // Check if there are silos remaining }; #endif // GAME_H_ Game.cpp #include "Game.h" Game::Game() { window = 0; renderer = 0; } Game::~Game() { } bool Game::Init() { // Initialize the SDL video and audio subsystems SDL_Init(SDL_INIT_VIDEO | SDL_INIT_AUDIO); // Create window window = SDL_CreateWindow("Missile Command v1.0", SDL_WINDOWPOS_CENTERED, SDL_WINDOWPOS_CENTERED, 800, 600, SDL_WINDOW_SHOWN | SDL_WINDOW_OPENGL); if(!window) { std::cout << "Error creating window: " << SDL_GetError() << std::endl; return false; } // Create renderer renderer = SDL_CreateRenderer(window, -1, SDL_RENDERER_ACCELERATED); if(!renderer) { std::cout << "Error creating renderer: " << SDL_GetError() << std::endl; return false; } // Enable TTF loading TTF_Init(); // Load the fonts fontMouseX = TTF_OpenFont("lato.ttf", 14); fontMouseY = TTF_OpenFont("lato.ttf", 14); fontCannonAngle = TTF_OpenFont("lato.ttf", 14); // Initialize resources SDL_Surface* surface = IMG_Load("test.png"); texture = SDL_CreateTextureFromSurface(renderer,surface); SDL_FreeSurface(surface); // Set mouse cursor to crosshair cursor = SDL_CreateSystemCursor(SDL_SYSTEM_CURSOR_CROSSHAIR); SDL_SetCursor(cursor); // Initialize timing lastTick = SDL_GetTicks(); fpsTick = lastTick; fps = 0; // Set starting FPS value frameCount = 0; // Set starting frame count testX = 0; testY = 0; return true; } void Game::Clean() { // Clean resources SDL_DestroyTexture(texture); SDL_FreeCursor(cursor); SDL_DestroyRenderer(renderer); SDL_DestroyWindow(window); // Clean test data SDL_DestroyTexture(xTexture); SDL_DestroyTexture(yTexture); SDL_DestroyTexture(aTexture); } void Game::Run() { // Create game objects cannon = new Cannon(renderer); ground = new Ground(renderer); silo = new Silo(renderer); // Start a new game NewGame(); // Main loop while(1) { // Event handler SDL_Event e; // If event is a QUIT event, stop the program if(SDL_PollEvent(&e)) { if(e.type == SDL_QUIT) { break; } } // Calculate delta and fps unsigned int curTick = SDL_GetTicks(); float delta = (curTick - lastTick) / 1000.0f; // Cap FPS delay to specific amount if(curTick - fpsTick >= FPS_DELAY) { fps = frameCount * (1000.0f / (curTick - fpsTick)); fpsTick = curTick; frameCount = 0; //std::cout << "FPS: " << fps << std::endl; char buf[100]; snprintf(buf,100,"Missile Command v1.0 (fps: %u)", fps); SDL_SetWindowTitle(window,buf); } else { frameCount++; } lastTick = curTick; // Update and render the game Update(delta); Render(delta); } delete cannon; delete ground; delete silo; Clean(); // Close the fonts TTF_CloseFont(fontMouseX); TTF_CloseFont(fontMouseY); TTF_CloseFont(fontCannonAngle); TTF_Quit(); SDL_Quit(); } void Game::NewGame() { } void Game::Update(float delta) { // Game logic // Input, get mouse position to determine // the cannon pipe's angle for rendering int mX, mY; SDL_GetMouseState(&mX,&mY); // Create the target vector, normalize it // and pass it to the cannon to set the // current angle target = new Vector2(mX,mY); SetCannonAngle( target ); // If there are no more silos, // start a new game if(GetSiloCount() == 0) { NewGame(); } // Update the cannon's angle cannon->Update(delta); /* Test Data */ // Stream the X, Y and Angle values xValue.str(""); // Clear the stream before piping the xValue xValue << "X: " << mX; yValue.str(""); // Clear the stream before piping the yValue yValue << "Y: " << mY; angleValue.str(""); // Clear the stream before piping the angleValue angleValue << "Angle: " << cannon->angle; // Set font color to WHITE SDL_Color textColor = {255,255,255}; //*************************************** // DEBUG - Prepare the fonts for testing //*************************************** // Render the X-coordinate SDL_Surface* temp = TTF_RenderText_Solid( fontMouseX, xValue.str().c_str(), textColor ); xTexture = SDL_CreateTextureFromSurface( renderer, temp ); xWidth = temp->w; xHeight = temp->h; SDL_FreeSurface(temp); // Render the Y-coordinate temp = TTF_RenderText_Solid( fontMouseY, yValue.str().c_str(), textColor ); yTexture = SDL_CreateTextureFromSurface( renderer, temp ); yWidth = temp->w; yHeight = temp->h; SDL_FreeSurface(temp); // Render the angle temp = TTF_RenderText_Solid( fontCannonAngle, angleValue.str().c_str(), textColor ); aTexture = SDL_CreateTextureFromSurface( renderer, temp ); aWidth = temp->w; aHeight = temp->h; SDL_FreeSurface(temp); } void Game::SetCannonAngle( Vector2* theVector ) { // Calculate arc tangent between the // the mouse's position and the center // axis of the cannon and convert to degrees double theAngle = atan2( theVector->x, theVector->y ); theAngle = ConvertDegrees(theAngle); cannon->angle = theAngle; } double Game::ConvertDegrees(double radians) { // Convert the angle from radians to // degrees and return the value return radians * ( 180 / 3.141592653589793238 ); } int Game::GetSiloCount() { int siloCount = 0; // If the current silo is still alive, // the game is not over if(silo->state) { siloCount = 1; } return siloCount; } void Game::Render(float delta) { // Clear the renderer SDL_RenderClear(renderer); // Render the game objects cannon->Render(delta); ground->Render(delta); silo->Render(delta); /* Setting source rectangles and then rendering the x, y and angle fonts */ // For x SDL_Rect rect; rect.x = 20; rect.y = 20; rect.w = xWidth; rect.h = xHeight; SDL_RenderCopy(renderer, xTexture, 0, &rect); // For y rect.x = 20; rect.y = 40; rect.w = yWidth; rect.h = yHeight; SDL_RenderCopy(renderer, yTexture, 0, &rect); // For angle rect.x = 20; rect.y = 60; rect.w = aWidth; rect.h = aHeight; SDL_RenderCopy(renderer, aTexture, 0, &rect); // Present the renderer to display SDL_RenderPresent(renderer); } That's the code. Attached to this post is a set of stills that show that the cannon is not angling properly towards the crosshair cursor, either on the left side or the right side of the video screen. Any help would be appreciated, folks. Thank you for your time.
  4. Do you like numbers? Actually I do. When I was child, I enjoyed to make multiples of 10 using license plate. It was not a big deal, but quite interesting to me. Decades later I planned to make a game and remembered that time. So I decided to develop game based on that memory. At the first time , it was just game to make 10, but I started to put various game like elements: items, obstacles, store, trophies, leader board, etc... And finally it becomes a game. Some people tells me it's too difficult, but some people tells me it's enjoyable. How does it looks like to you? "Puzzle Ten Final" Android Exclusive.
  5. Radio Rabbit DOWNLOAD: https://gamejolt.com/games/RadioRabbit/269209 About The game Radio Rabbit is a local coop shoot ‘em up where two players control one more or less combined character. The character exists out of a rabbit’s body and a floating, still to the body connected, giant eye. Each player controls one of them. The rabbit’s goal is to fly safely through the level and to avoid enemies to reach the goal. The Eye on the other hand can shoot. He is the one who clears the way. One character can move the other can shoot. So both player need to work together to fight of evil creatures and to complete the level. • explore the level to find the key which activates the portal gate • escape through the portal before the timer runs out • if you are to slow, the nuke will explode • use your character abilities, the rabbit can boost while the eye got the vision • you’ll get more powerful abilities from items such as a supershot • shoot as many enemies as possible to gain score • remaining time at the end of each level gets added to the score Features • 2 Player couch coop • 4 level + tutorial • an epic boss fight • fully gamepad supported (XBox or equivalent) • local high score Grab a friend and check it out! Please feel free to leave comments and feedback! DOWNLOAD: https://gamejolt.com/games/RadioRabbit/269209 and ENJOY!
  6. Basically I wanted to become more familiar with matrix usage, starting 2D, so I put up a basic setup where I have an "interactive wheel" that spits out whatever angle its handle is set to (image below) Now I have my basisVector y and x because I get the feeling those are needed, and I have a horizontal line floating on top of y. My goal would be to rotate that line with a vector Matrix multiplication based on the angle I get from my interactive wheel, as you would do in 3d I guess (the whole point of this is to get me familiar with matrices usage after all, so it need to be done that way), the problem is that from here I don't know how to proceed to build my rotation matrix, where to place my elements, what multiply with what...I am kind of lost. so this below is the code situation, and I need some help to get from where I am to where I want to be... float angle = mHandle->getHandleAngle(); D2D1_POINT_2F basisX = { 1,0 }; D2D1_POINT_2F basisY = { 0,1 }; //draw line mBrush->SetColor(D2D1::ColorF(0.87f, 0.3f, 0.36f, 1.f)); D2D1_POINT_2F lineP1 = D2D1::Point2F(mOriginX - 100, mOriginY - 150); D2D1_POINT_2F lineP2 = D2D1::Point2F(mOriginX + 100, mOriginY - 150); mRenderTarget->DrawLine(lineP1, lineP2, mBrush, 2.f); //replace draw line above with a line rotated by a rotation matrix mRenderTarget->DrawLine(D2D1::Point2F(),//Begin point D2D1::Point2F(),//End point mBrush, 2.f);
  7. Hey guys! Let me introduce to you a new mobile game Lumber Well. We was starting open beta. We need your feedback that helps make game better than it is. Sincerely, HolyByteGames Team. Contacts: holybytegames@gmail.com https://twitter.com/holybytegames https://www.instagram.com/holybytegames
  8. I googled around but are unable to find source code or details of implementation. What keywords should I search for this topic? Things I would like to know: A. How to ensure that partially covered pixels are rasterized? Apparently by expanding each triangle by 1 pixel or so, rasterization problem is almost solved. But it will result in an unindexable triangle list without tons of overlaps. Will it incur a large performance penalty? B. A-buffer like bitmask needs a read-modiry-write operation. How to ensure proper synchronizations in GLSL? GLSL seems to only allow int32 atomics on image. C. Is there some simple ways to estimate coverage on-the-fly? In case I am to draw 2D shapes onto an exisitng target: 1. A multi-pass whatever-buffer seems overkill. 2. Multisampling could cost a lot memory though all I need is better coverage. Besides, I have to blit twice, if draw target is not multisampled.
  9. EDIT: We've found a designer/composer and an artist. I'm looking for one more artist! I'm currently working on Metroidvania style game that I was inspired to start by Hollow Knight and Beksiński's art. It's built in Unity using C# and has quite a bit done already. I'm handling the programming myself and have a working model (besides combat which is a WIP) that can be expanded greatly depending on where we decide to take the project. You can see the current test area here: https://streamable.com/mp5o8 Since I'm not artistically gifted, its all rectangles but can easily be skinned once we've desired on designs. I have professional experience using Unity and C# working on both a released game and a prototype as well as having extensive Java knowledge. I also dabble in Python with a little bit of C++. I have worked on and completed many projects before, the most recent being a 2D stick fighting game written ground up in Java Swing (don't ask why): https://www.youtube.com/watch?v=V4Bkoyp_f0o I'm looking for a 2D artist (potentially more than one) to create concept and game art and a designer/writer who can help flesh out the story as well as map out and create challenging and eye catching areas. I can handle most if not all of the programming side of things though if there is anyone who is extremely passionate about this sort of thing, I'd consider splitting the load. The end goal is a completed game that can be sold however profit isn't really a concern to me as it's mostly a labor of love from my part. Any profits would be split between team members however that's pretty far off so don't make that a reason to join. ______________________________ The story I have in mind is something like this: A man wakes up in a chasm that stretches seemingly endlessly in both directions lined with enormous statues. He discovers a temple with text above a closed gate that tells of the failed kingdom that lies below. After finding a way around this, he drops down into the subterranean kingdom. Adventuring through the labrynth below, he comes across different cities in which the residents succumbed to different sins such as Greed, Wrath, etc. Each city tells a story of how its fixation on something lead to their demise leading up to a fight with the personification of their mistake. ______________________________ An very rough idea for Waterways, a potential area: - To enter you must be wearing a pair of glasses that you find somewhere earlier in the ruins. There are similar glasses found in every home. Everything appears incredibly beautiful however something seems wrong. After triggering some event, the glasses break and it's revealed that the glasses are made of some sort of stone that makes everything appear differently. The city is in ruins and absolutely disgusting as everything was neglected. - The only thing that remains intact is in the center of the city, an incredible statue of a goddess holding up a large sphere of the same material that was used for the glass. You slowly learn the story behind the statue: the goddess came from the sea that the city lies on and brought prosperity to them. - After opening up the the temple of the goddess that lies right on the edge of the waters, a giant sheet of the glass covers an opening in the back of the temple that reveals the goddess behind it. You shatter the glass and it becomes apparent that the goddess is actually a disgusting creature half beached and mostly immobile that appears to secrete the material that makes up the glass. Fight ensues. ______________________________ The combat is pretty up in the air and part of the reason I need a designer to bounce ideas off of but I think it will be something like this: - 4 orbs equipped at a time - 2 orbs selected at a time - Pressing the cast button will cast a spell determined by the 2 orbs that are selected - Spells cost mana however you can use spells with 0 mana and it will cost health instead - These spells in addition to being useful for combat, are the Metroidvania "gating" metchanic. For instance, one of the conceptualized spells is a water orb + water orb to create a ice pillar that can be either used to block projectiles/enemy paths or to jump on to reach high areas ______________________________ If you're interested or have any questions, contact me through discord. My id is NA-45#3692.
  10. This article will introduce you to basic art concepts to give you a head start in making your own 2D game art. This is not a Tutorial! This article is for those with some vague familiarity with 2D art for games, primarily people who are programming games but would like to create quality assets, or those just getting started with creating art for games. By 2D assets, I'm referring to 2-dimensional images used for games - anything from character sprites to large backdrops. This article focuses on giving a brief introduction to good old-fashioned art skills and the ways they can make your game better. It's meant to give you a brief introduction to some principles and ideas so you don't have to waste your time discovering them the hard way or develop any bad habits you will then have to break. I won't be covering things like file formats, raster art vs vector art or what software to use in this article. What I will be covering: Form and Shape Anatomy and Proportions Perspective Breaking Down Color Lighting and Shading Practice Makes Perfect If those bullet points don't grip your heart and tear at your soul, here's this handy before-and-after demonstrated what you will learn: An internet fact! Okay, that's actually what my programmer friend made and my, uh vast improvement, but I think it's a pretty good example of what happens when you apply a little artistic know-how to a design. We're all used to looking at 2D images in everyday life, but knowing what things look good isn't the same as understanding exactly why they look good. Any 2D image can be broken down into basic elements, and you can think about creating 2D art as combining those elements in a way that 1) Looks like what you meant it to be, and 2) Is not super ugly. For example, we all know what a square and a sphere look like, but how do they fit into the process of making an identifiable character? To answer that, we're going to start with our first section: Form and Shape Knowing that shapes matter, you can apply them to make environments seem more or less friendly, or match (or intentionally mismatch) characters and objects to those environments. Start designs with only very basic shapes- I'm talking about circles, squares, and rectangles. Try a character made of squares, or one made out of just triangles, and then see who looks more like the hero and who looks more like the villain. Keeping your initial design thoughts to shapes only also lets you generate a lot of ideas without getting carried away trying to figure out the detail right away (more on that later with the "Practice Makes Perfect" section). Generally, sharp edges imply artificiality or evil while curves and roundness imply organic and good. Traditionally it's thought of as a spectrum, with roundness on one end with jaggedness on the other, with squares somewhere in the middle. For a great example, think about the landscape of Mordor in the Lord of the Rings films, versus the rolling hills of the Shire. A round, friendly looking character wandering through an angular environment seems more unsettling than the same character in a predominantly round environment. In the same vein, you can easily make stylistic choices to influence how a player thinks of an area. Let's take a look at another particularly good example... Let's break down two characters that have a lot, but also pretty much nothing in common: Godzilla and Barney the Dinosaur. What kinds of shapes make one look like a fearless killing machine and the other look like a friendly hugging, uh... machine? Also, Godzilla has three fingers.(Barney image source, Godzilla image source.) Think about it, both characters are T-rex-like monsters designed around the fact that a guy had to fit inside... but they're on the opposite sides of the appeal spectrum. Why? It has a lot to do with one having smooth curves while the other is more angular with parts that are downright sharp (there are other reasons, which we'll get into later). At a fundamental level, this has to do with our general comfortableness with round organic shapes versus our discomfort with sharp angularity. It's no coincidence that "bad guys" tend to have spikes coming out of every conceivable surface (Bowser in Super Mario Bros being the archetype), while "good guys" like Mario himself, tend to be, well, soft around the edges. When Sonic the Hedgehog was conceived as a cooler, more mature version of Mario, it's no coincidence he designed to be significantly sleeker and spikier than Mario. Let's take a look at Barney and Godzilla again, this time in silhouette: Evilness of a character is correlated with how painful the action figure is to step on. Silhouettes are very closely tied to the shape of an object and are a great way to break down the shape of a character. Apart from any connotations of the shapes used, if a character does not have a distinct silhouette compared to other characters, it's not a very good design. Some artists even go so far as to start with the silhouette and move inward to flesh out their subject. Reducing an object to just the silhouette can also be a great double check after it's already started to make sure it's looking right. In summary, when thinking up designs for your games, make sure you account for shape and form and connotations those shapes often have to get a design that conveys what you want it to. Also, keep in mind that things are largely recognized by shape, so objects in your game should have distinct shapes in order for the player to identify them easily. Spikey the Sea Urchin as a protagonist, outside ironic appreciation, probably wouldn't have a lot of appeal among Facebook gamers. TL;DR: Everything is made of shapes and forms, and different kinds have different subconscious connotations. Anatomy and Proportions Figure drawing is often considered to be the most difficult field of drawing since people are structurally complicated masses of interconnected cartilage, muscles, bone, and skin. I'm not going to go into super detail since I don't personally have a ton of experience, but there are hundreds of books and websites dedicated to figure drawing. The essential idea is that there are certain rules and relationships in terms of length, size, and position of anatomical features, which is important because anatomical errors stick out. The more stylized a figure, like Mickey Mouse, the less important strict adherence to anatomy becomes, but it's a good idea to study realistic figures since by knowing the rules, you'll be able to bend them better. You can think of human proportions as essentially shortcuts to get close to ideal anatomy by comparing the size of different parts of the body to each other. There are specific proportions to measure pretty much every part of the human figure, but the usual starting point is the head. Humans in real-life are around 7.5 heads tall, though often this is rounded to 8 to make a slightly more idealized figure: There are many, many examples of available of this kind of diagram. Google is your friend! Changing the size of the head of a character compared to his/her/its body can have a pretty big impact on how that character feels. Big heads are more child-like, and so are more associated with friendly characters, while small headed characters feel more adult or even grandiose. Yet again, Godzilla and Barney help us out: Godzilla might seem more mature, but Barney is waaaaaay creepier like this. TL;DR: For people to look right, they have to follow certain rules regarding proportions, and messing with different proportions can change the "feel" of a character. Pages to get you started: Proportions Guide by FOERVRAENGD, idrawdigital Tutorial: Anatomy and Proportion Perspective Perspective is all about creating the illusion of depth on a 2D surface by altering the appearance of shapes and forms and is a pretty big subject so forgive me if I split it into sub-headings. Geometric Perspective Most 2D games simply avoid dealing with what I like to call "Geometric" perspective for the simple reason that implementing true-to-life perspective would be insanely time-consuming for creating 2D art for games. Games like to cheat their way out of that problem by adopting unrealistic viewpoints, such as assuming everything is seen perfectly form the side (like a 2D Platformer), or from an isometric viewpoint which is no less realistic although more subtle in its unreality. I want to go over it because it's probably the hardest overall principle to truly understand, and even a very basic understanding will get you vastly better results. The Vanishing Point forms the basis for most formal perspective and is based around the idea that parallel lines appear to converge onto a single point as they recede from the viewer. LOLwut you ask? Like this: This would be a more dramatic example if there was an oncoming train.Image from Wikimedia Commons Notice how the parallel lines (real and implied) converge? Maybe this will help: So I could have added more red lines, what of it? Red lines converge on the vanishing point. Got it. What you also see dividing the earth and sky is the Horizon Line, which happens on infinite (from the viewer's perspective) planes. Vanishing points and horizon lines at their core enforce a really a simple idea: Things that are far away appear smaller than things close up, and the closer side of an object will appear bigger than the farther side. The above example uses one vanishing point, but there are really as many vanishing points in a scene as there are sets of parallel lines, with each set having its own vanishing point. Sound complicated? It definitely is, which why scenes are generally simplified down to one-, two-, or three-point perspective. What normally happens with one-point and two-point perspective is that one or the more sets of parallel lines are assumed to stay parallel forever and never converge. Here's an example of a cube and a cuboid in one point perspective: That's right... pencil and paper, sucka. Note how the horizontal and vertical sets of edges are perfectly parallel. Now, here's two-point perspective: It's traditional when you're starting out with perspective to lightly draw the other side of the objects as well to get a better feel for the 3D-ness. Here, the set of edges that were previously perfectly horizontal now get their own vanishing point. The vertical edges stay perfectly parallel. Finally, here's three-point perspective: Three-point perspective pretty much entails epic-ness, at least in terms of height. Now all edges get their own vanishing point. Good for them, right? It should be noted that vanishing points deal parallel lines the best, but by drawing guide lines or even full boxes you can get a better idea of how to approximate depth for complicated shapes. One, Two, and Three-point perspectives are by far the most common and useful, but there's at least one artist who has used six-point perspective to create crazy spherical scenes. There's an important trick to drawing tubes or any circular object in proper perspective, since circles in perspective deform in special ways. Circles look like ellipses when they're viewed obliquely, the more oblique, the more squashed the ellipse: I cannot tell you how many people don't get this, so seriously and for real, circles turn into ellipses. A simple rule is that when you're looking up at a cylinder edge (like the roof of a round building), the curve bulges up. When you're looking down, like at the base of telephone pole, the circle bulges down. The line through the middle of this image is the horizon line: This would have been a perfect candidate for shading to add depth, but we'll get there. However, you should remember than many 2D games avoid geometric perspective problems by picking viewpoints (from the side, perfectly top-down) that minimize the need for it. Foreshortening A common perspective art concept in figure drawing is called foreshortening, which comes up often with how parts of the body appear in perspective. A fist held out at the viewer will not only appear bigger than it would be held at character's side, but it eclipses a huge part of the arm, too. I'm terrible at figure drawing so this won't be the most professional-looking example ever: Seriously, I suck. Often, artists eyeball foreshortening for characters simply because laying out all the vanishing points would take too long. But for your edification, here's forshortening with vanishing points and cylinders, which are often used as proxy forms for limbs: At least I can draw cylinders good...er, I mean "well". Keep in mind that characters, human characters especially, can be thought of as a series of simpler objects which are easier to comprehend. Sketching out characters as a series of tubes connected by joints before filling in the detail isn't uncommon. Page to get you started: idrawdigital Tutorial: Forshortening Tricks Overlap and Parallax Overlap is very simple: closer objects will overlap and mask farther objects. It's very important for 2D games since it's a very simple way to show the player their relationship to objects. Let's take a quick look at an extremely simple example: Also known as the weird hills in the background of every Super Mario game. From this set of lines you perceive the circular thing (a bush?) on the right is in front of the others, while the tallest one is behind. This effect is sometimes called the "T-rule" since the line of the object in front forms the top of a T compared to the object behind. It's simple, but pretty powerful. In this example, all the T's are updside-down: More like ASCII Code 193 rule, amirite? Parallax is another important perspective effect having to do with the relationships of overlapping objects. Parallax essentially is that objects that are far away appear to move less when the viewer moves, compared to closer objects. Parallax is great for 2D games because it's pretty easy to implement, and you have no doubt come across it. Wikipedia actually has a pretty decent article on using parallax in games, and I'd hate to waste your time regurgitating it. Atmospheric Perspective Since 2D games often intentionally violate regular perspective rules for the simple reason that it's easier to draw stuff for them, they have to rely on other means to get the idea of depth across. By making objects that are supposed to be far away from the viewer appear more washed out and less detailed, you can easily make the brighter, sharper looking things in the foreground appear more distinct. Here's an example from real life, in a picture I took while visiting the gloriously smoggy People's Republic of China: For real, it's pretty smoggy over there. You can also see the parallel line perspective effect, although in this case the main vanishing point would be off to the left of the frame. The game applications are pretty staggering. Almost every 2D platformer ever made uses atmospheric perspective. Take this screenshot from Super Mario World: Also, overlap and parallax! Booya! Super Mario World Image Source Notice that the farther in the background an object is, the more washed out it looks. In particular, looking at how dark the outlines are tell you how close they are to the plane of the player. This also folds directly into the idea of contrast. Contrast can tell the player what's important and what's not. Take a look at that Super Mario World screenshot again. Blue hills that are lightly shaded? Not important. Pipe with a white highlight fading to total black? Important. The only bright red thing on the screen? Super important. Remember, interactive parts of a game should always stand out from non-interactive parts unless there's a specific reason to obscure something from the player. Pages to get you started: ArtyFactory.com Linear and Aerial Perspective, perspective-book.com Tutorial Breaking Down Color Color is a tricky thing, and one of the more subjective parts of art in general. Some colors look better to some people than others, and color combinations and connotations do not transcend cultures. White might be the color of purity in the west, but in Japan white often stands for death. However, there are a few basic ideas regarding color that will help you out in understanding what's going on in your art. Let's start with thinking about what makes up a particular color. Hue, Saturation, Brightness There are many ways to break down color, but this one I think is the most helpful for beginning digital artists. Let's start by comparing two colors: Red vs Blue, get it? It seemed pretty clever at the time. Red and Blue. They aren't the same color? Pretty simple, right? Well there's actually a more precise term called Hue. The left square has a red hue and the right one has a blue hue. Other hues include green, orange, purple, and so on. While hue may seem just a redundant term for color, it's not because the amount of any given hue in a color can change: Red vs Less Red. So they are both red, but how are they different? The one on the right is just kinda... washed out. The term we're looking for is saturation. Saturation is basically the term for how colorful, um, a color is, or how much hue it contains. I like to think of saturation as a measure of how much gray there is in a color. No gray = saturated. Lots of gray = unsaturated. So in this case, the square on the left is a fully saturated while the one on the right is desaturated. Pure gray is simply a color with no saturation. Saturation is the most devious of color attributes for beginners to get the hang of in my opinion. Just be aware that saturation has a big impact on the "tone" of your art. Highly saturated colors tend to look more, well, friendly when used in large amounts, where desaturated colors are associated with grittier style. The last attribute is Brightness. It's much more straightforward - it's just how bright the color is (sometimes the term "value" is used instead, no biggy). Here's the same red as above, but with a darker version: Same red, but darker (not desaturated). The relationship between brightness and saturation takes a little getting used to, since they can appear to overlap: I like drawing spaceships and explosions, but I also secretly like magenta. Here's an example of how color can affect the tone of a game, with Castlevania: Lords of Shadow set against New Super Mario. Also note the lack of gibs and bloodsplatter you'd expect a Mario that size would generate stepping on a goomba. Image Source Nothing clever, just wanted to point out how well those bright status bars stand out from the background. Image Source You know what also relates back to color... Barney and Godzilla! Whooo! So anyway, think about the ways color makes them so different in terms of hue, brightness, and saturation, and what would happen if one or more of those attributes changed. What would happen if you left one attribute alone but traded them between the characters? Would a gray Barney still seem huggable? There is no escape from the Godzilla-Barney comparison! RGB in Brief Congratulations! You now understand HSB (Hue Saturation Brightness) color (sometimes the "B" is swapped out with the a "V" for value, but the meaning is the same). Pretty much any image software can use that definition along with Red, Green, and Blue (RGB), and Cyan, Magenta, Yellow, and Key /Black (CMYK). I think HSB is a much more straightforward way of understanding what's happing with colors, especially regarding how bright and how saturated a color is, which is what you need when you're working on shading. You will have to work with RGB color in different applications however, so let's review that briefly. RGB simply describes colors in terms of Red, Green, and Blue, since all colors can be described as a combination of those three, which has to do with how your eyes process color information. Take some time and monkey around with color values to see what both the HSB and RGB values change, and how they related to each other. Here's the standard RGB overlap diagram (notice what happens when the colors overlap): Also known as an additive color model, since colors are creating by adding light, rather than absorbing light (subtractive model) Also note how when all three are combined, it makes white. You can think of all the colors playing in a tug-of-war, so when they all have the same value, the hues cancel each other out and make gray. But the colors different combinations yield can be kind of confusing, so for working on artwork, I would lean towards HSB. The Color Wheel Now that we have defined what a color is, let's start looking at color combinations. Color theory is complicated and pretty subjective, so what follows isn't meant to be an ironclad explanation, but a guide of what to think about. The color wheel forms the basis of most color theory. It's basically an arrangement of hues by their perceived relationship, with Red, Yellow, and Blue at the thirds of the wheel (the so-called primary colors), with Green, Orange, and Purple (secondary colors) between them. Wheel of Color would be a really stupid game show. Hues are also commonly split into Warm and Cool categories, termed color temperature, with red-yellow colors being described as warm and blue colors being described as cool, as below: Spike Lee's film Do the Right Thing was oranger than normal to make it seem "hotter." I learned that in a film class, and it seemed relevant to bring up. I added a zone of iffiness, since those colors are kind of borderline but I've seen the yellow-green as cool and the magenta color as warm. The important thing to remember is that cooler colors are associated more with darker shades, so a cool shadow will be perceived as darker than a warmer one that is technically the same value (brightness). Other relationships between colors can be explained using the wheel, too. Analogous colors are simply hues next to each other on the color wheel, like green, yellow, and the colors between. Complementary colors are colors (hues) 180 degrees from each other that appear more vibrant when used together. You've probably seen them in action, even if you didn't know why; blue and orange has even become a trope. If you're using Firefox, look at the icon. Complementary colors strike again! When working on game art, think about associating colors with specific factions or enemies and environments or levels. Color-coding isn't mandatory, but you can use it as a way to bend player perception. Think of a set of colors for bad guys, but use unique shades of those colors for specific enemies, for example. But with using colors, don't be afraid to experiment and try lesser-used colors. Using any reasonably-advanced art program, like GIMP, it's actually easier to change color than any other attribute. It's one of the few things you can change after completion relatively easily. TL;DR: Colors can be divided and related to one another in different ways, and different combinations of colors can make their individual component colors look different, for better or worse. Page to get you started: Color Theory for Designers Lighting and Shading I'm going to be using lots of pixel art examples, but they basic concepts are just as applicable to any other type of 2D art. Light Sources The most common issue I see with beginning artists is that they don't understand lighting. Shading a drawing generally means to apply different shades to create the illusion of light in a drawing, just like perspective is the illusion of depth. And just like in perspective, you have to create some 2D stand-ins for mimicking real-world effects. There's really only one rule: Light has to come from somewhere. It doesn't just appear, which means that laying down colors in a drawing will always look wrong. What happens pretty often with beginners is that they try to "shade" their art, but don't understand lighting, which results in objects that look like this: Seriously, don't do this. Compared to the unshaded version: You might even be better of with this version than the one above. It's called pillow shading, and it can be easy to do without thinking about it. It can seem natural to just color from the outside in with darker shades... but it looks completely fake. In order for lighting to look right, it has to be directional, with light/dark shades being chosen depending on the whether or not a side of the subject faces the light source(s). A light source could be the sun, a lamp, a boiling hot lake of molten lava, etc, but doesn't have to be something that specific. For example, you can just assume almost all light is coming in at 45 degrees from infinity, and your subject will be shaded well enough for most applications. For animated sprites that are going to be used in a variety of environments, a little vagueness helps keep the sprite from looking too out of place on any background. Here's an example using a light source coming from the top left somewhere: This also requires you to think about if there's a part casting a shadow over another. Parts facing the light source are lighter and parts facing away are darker, couldn't be simpler, right? Of course, it's not always that simple... Flat vs Round Keep in mind that flat surfaces generally have almost the same shade across their entire surface, where curved surfaces will have a gradient of shades. Here's a neat real world example (with fighter jets!) of how this works: An F-117. I actually grew up with these flying over my house. Notice how all the panels have the same shade unless they're actually in the shadow of a different part of the airplane? Now, let's look at a more normal jet (an F-15): Whooo America! Except this one is actually Saudi Arabian - Gotcha! Relate back to the Shape and Form section. Which one of these bad boys would you cast as the good guy and which as the bad guy going on looks alone? Here, you can see an actual gradient transition between light and dark. Check out the left wing, it's an almost perfect gradient. Now let's go back to that pillow shaded mess from earlier: The light source for the cube and sphere aren't quite the same. What's different? Note the cube only really needs one value per side at this scale, while the sphere requires many more values to mimic the gradiated nature of shadows on curved surfaces. Bounced Light The kind of shading above is simplified since light can also bounce off surfaces and light up shadows. This often means that the part of the shadow that is farthest away from the main light source is actually lighter than the other parts of the shadow. This is most noticeable when an object is extremely close to a reflective surface, or is just plain big. This is the classical example of how this looks: Also note how the shadow it casts also gives you a better sense of depth. Here's a couple digital examples of the same thing. If these spheres were sitting on a blue surface, the reflected light on the cube would also be blue. The left is an example of bounced light located off the edge, which happens with highly reflective surfaces. The shinier the object, the more obvious and distinct this bounced light appears. Speaking of shininess, lighting and shading can not only reveal an object's form, but also its texture. Hue Shifting Hue shifting relates somewhat to bounced light, and comes up with pixel art a lot. It basically refers to how the hue of a shadow or highlight isn't necessarily just a darker or lighter version of the base color. The most common usage is for objects that are supposed to be in the sun. The direct sunlight tends to be a little yellow, but the blue sky reflects blue light into the shadows, so you have yellowish highlights and blue-ish shadows. This also relates back to warm colors and cool colors, with cool shadows and warm highlights. This idea becomes more important when you have multiple light sources (like underlighting from lava or whatever) that's a different color from other light sources. Remember, colored light affects the color of the object. But hue shifting can also be simply a stylistic choice, and by exaggerating the effect or substituting complementary colors you can get some pretty neat effects: Doing this too much will make your game look like it's trapped inside Instagram. Keep in mind that shadows can also appear to be less saturated, and that less-saturated colors can appear darker than they really are. There's not a total consensus on hue shifting in the art world, so find a way that you like, but keep in mind the more you shift, the more surreal your art will seem. Shading and Texture The texture of an object affects how light bounces off of it, so naturally changing how you shade something can also change what its texture looks like. There are specific terms for certain types of textures that will help you in thinking about different types of texture, too: Knowing this will let you buy paint without having to ask the forlorn-looking old guy working in the home improvement department for help. A Gloss surface is just a shiny surface, where the light bounces off a particular angle of the surface almost all in the same direction with very little scattering. What that means is the brightest part is very bright (since you're getting lots of light from that one place at once) and the darkest part is very dark (since the light is sticking together and going somewhere else). A good example of a gloss surface is the body of a freshly waxed car. A Flat texture is the opposite, where light scatters off the surface at many different angles. That means the brightness is more even, since no part of the object is directing all of its light in a particular direction. Old car tires are a pretty good example of a flat surface, as is modeling clay. A Matte surface is somewhere in-between. It reflects light in chunks, but scatters a lot too. A lot of plastic has a matte finish, like most keyboards. So when you're drawing, think about what kind of material that you're shading is supposed to be. Is it shiny metal, or flat cloth? You don't want your medieval characters wearing plastic-looking garb, and you probably don't want your sleek sci-fi armor to look silky soft. TL;DR: Light has to come from somewhere, or look like it does, for 2D images to look right. Page to get you started: Android Arts Tutorial by Niklas Jansson Practice Makes Perfect So now that all those concepts are laid out, what are you supposed to do? Well, start trying stuff out! Don't be afraid to jump right in. It really is true that anyone can draw. Sure, some people have a particular knack, but the biggest separator between a bad artist and a good one is how much they've practiced. You gotta do it a lot to get good at it. Practice, but practice smart. Game projects also provide a lot of opportunity for practice, so if you have a project in mind, start creating art for it if you haven't already (after reading this article all the way through, though). If you don't have one in mind, find one! Even the smallest game project has enough art that you'll get enough practical experience that by the next one you'll be noticeably better. And fortunately for non-artists, game art doesn't have to be Italian renaissance level quality to be functional. Three P's: Pencil, Paper, Practice The only way to get better at drawing is to practice, and the cheapest and easiest way is to do it with good ol' fashioned pencil and paper. It might be tempting to simply stick with digital-only for all steps in the design process since that's where your final product will be, but resist! Drawing by hand gets you more involved in the process and will help you avoid some of the more dangerous habits that relying on software tools will get you. Those tools can be great and it might seem easier at first to make sprites using the square tool, but trust me when I say that you would do ridiculous and ugly things that would be impossible to do with a pencil sketch. There will be plenty of time later to mercilessly exploit tools, tricks, and shortcuts when you're conscious of the basic principles. It might seem awkward at first if you've gotten used to doing things digitally only, but pencil and paper are the starting point for artists the world over for a reason. With that in mind, I recommend buying a sketchbook, some pencils (I like mechanical pencils, but it doesn't really matter at this level), and a separate eraser like a Magic Rub since you'll be erasing way more often than the #2 pencil designer gods intended. You don't absolutely need a sketchbook - the real key is that you need to practice, and to that end the margins of your class notebook or a sticky note at work aren't worlds apart. A sketchbook does let you keep all your work in one place, though, so you don't have to hunt down that one really sweet design for an enemy that you put on the corner of your homework or a memo at work. Sketching The key to pencil sketching is to think of all the lines as temporary suggestions rather than permanent representations. What? Don't get attached to your lines! Sketch over them, erase them, make new ones without regard for old ones. Of course, make all your lines fairly light when doing this. Start with the basic shape of your subject, and add detail incrementally. Most things can be approximated by basic forms, namely the sphere, the cylinder, and the box, which is especially useful for drawing objects in perspective. For example, don't draw a more or less finished head, then move to the chest, then arms, then legs, etc. because focusing on detail will make you lose sight of how those parts fit together. Start with a big rough sketch of everything together and add detail on top of that. Don't get attached to any lines in the beginning - don't be afraid to ignore lines and draw other lines on top until you get an overall shape that looks good, and don't be afraid to simply restart if things aren't going your way. This video illustrates this perfectly, as the artist builds the basic framework of the character, puts some rough shapes on top, the proceeds adding more and more detail - and erasing and re-doing parts that look bad. Here's a little image out of one of my old sketchbooks, complete with funky-looking man: Another figure - Don't look! Um, I guess he has a huge zit on his face? What was I thinking? Draft, Draft, Draft It might sound crazy at first, but you should sketch at least three versions of any character/object/setting before committing to a digital version to use in a game. Major studios often create literally dozens of concepts for a single character before even thinking about picking one. Even for background assets like trees or bushes that aren't interactive, sketching three versions to get one final asset is not an unusual ratio. Just like turning in the first draft of a term paper, making the first version the only and therefore final version is a huge risk and not one worth taking. By trying three different ways, you can also then take the best parts of each version and combine them to make a stronger final version. Here's a simple example of a couple cool space helmets, both of which are different than the final design below (and based on even rougher earlier sketches): Shout out to Anatomy and Proportions section since it's hard to make a helmet without knowing how skulls are shaped. The top part should really be casting a shadow on the visor... oh well. This might seem burdensome, so it's important to keep in mind that these sketches are rough, rough, rr-rrr-rooouuugh drafts. Don't spend time on them. In fact, the less the better many times, since the longer you dwell on a piece, the less flexible you become about revising it or making the next version different. Leave the detail out at first, just get the general idea down and move on. If you feel like it, you can then go back and add more detail to your first contender. Be prepared to draw, a lot, and be prepared to get a little frustrated sometimes. If your art looks iffy at best to you, congratulations, you are a human being. Your next drawings will probably be better, and the ones after that better still. Remember, getting frustrated is standard - if drawing was as easy as it looked, there wouldn't be this article. In fact, if you aren't getting at least a little frustrated drawing for a while, you either aren't pushing yourself or your contacts fell out and you've convinced yourself that blurry mess was totally your intention all along. TL;DR: Draft all your game art by sketching out several versions first with pencil and paper, without worrying about being perfect. Related Page: Sketching: The Visual Thinking Power Tool Conclusion Hopefully now that you are familiar with these concepts, you can go forth and create with the knowledge you need to not suck. I mean, be incredible! Seriously though, creating art isn't easy and it takes a lot of practice, but just having some idea of these concepts is fantastic. As I said in the introduction, most of the information here is in the context of creating 2D art for games, and doesn't necessarily reflect what you would get in an Art 101 class. Further Reading I've included links within the text, usually at the end of relevant sections, but if you're interested at all in any further information about game art, particularly character creation, I have to highly reccomend Chris Solarski's book Drawing Basics and Video Game Art. This article owes a lot to him and his book, and you can read some of his writing on Gamasutra.
  11. I have this Direct2D framework set up, it render a constant 60FPS and this is my code in my draw call: mRenderTarger->Clear(D2D1::ColorF(0.41f, 0.41f, 0.41f, 1.0f)); GetCursorPos(&mMouse); ScreenToClient(mhWindow, &mMouse); D2D1_POINT_2F point2 = D2D1::Point2F(mMouse.x, mMouse.y); //wrapper function of the Direct2D FillEllipse function drawPoint(point2, 6.f, D2D1::ColorF(1.0f, 0.15f, 0.30f, 1.f)); Now even without moving the mouse too fase, the point drawn kind of lag behind a bit, and moving the mouse faster, the point is drawn as far as 5cm from my mouse cursor so the lag is visible. Any idea why this accurs and how to fix it?
  12. I bought this little fella (http://www.wacom.com/en-br/products/pen-tablets/one-wacom-m) a while ago but i never found time to play around with it. This weekend was very hot so i was mostly home and i’ve drawn a background for the game, hope you dig it. Took me a few hours. The post Backgrounds work appeared first on Fat Pug Studio. View the full article
  13. I dont really know exactly how to explain my issue so i will do my best. I'm looking to make an html game with javascript. I want to know how to setup an environment that has a big "world" but what you can see is only a small part of it as you move around. If you have ever played agar.io thats what i mean. Feel free to ask questions.
  14. It's the weekend, so that means I get to share all I worked on last week in another edition of the Developer Diary Digest! EVENT & HOLIDAY SYSTEM It seems like I've been putting off a holiday / event system for at least the last 6 months. It's one of the systems I've been most anticipating, but it relied on too many other moving pieces to work on...well, until now! At the dawn of each day, the game now checks if there's an event scheduled, and if so it fires off any scripts related to it. It's pretty robust, and the scripts can do things like create holiday-specific visitors, add new music or decorations, change dialog, and a lot more. As I wrapped it up, I realized that I needed a way to inform the player about upcoming events and what they were all about. This naturally lead into the next thing I worked on... A POSTAL SERVICE You can now receive letters from villagers, visitors, and other friendly monsters in the game. The goal is to integrate the mail system into as many other parts of the game as I can. For example, you'll get a flyer the day before each holiday that explains it: Letters you receive from villagers will reflect their personalities as well as their disposition toward you. Most will be helpful or friendly, but others, like Taswell, probably won't be at first. As I said above, I want mail to be integrated into as many other systems as I can. As I was browsing my list of features I got to "The ability to submit feedback from in-game" when I suddenly had an idea... SENDING FEEDBACK VIA IN-GAME POSTAL SERVICE ...wouldn't it be cool if you could write letters to the developer from inside the game itself? Now obviously there's a lot of things to consider here - security, spam protection, etc. - but the idea is so cool to me that I'll do whatever it takes to make it work. It's hard enough to encourage users to submit feedback, so providing something in-game that's also contextualized via a system they're going to be using every day can only help! BIRD SONG Finally, I'll end this week sharing a new 'flavor' feature. If you've played any of the demos you've likely seen birds flying about every so often. But unlike real life, they've been totally silent. Well not anymore! Birds that fly overhead will now chirp and caw and sing. I obviously can't record sounds via gifs, so I tried my best to provide an alternative: Well that'll do it for this week. Enjoy your weekend, y'all!
  15. Worked on the resource collection today. My goal is to complete the resource collection, player combat capability (including both melee and ranged) as well as possibly creating some behavior for some of the buildings by Wednesday. My fellow programmer is working on the UI for the game. Definitely a big challenge for me is to learn how to delegate work as a team lead. It's hard not to be too picky with the way people do things, as everyone does things in there own way. It is something I'll get the hang of though! As for the art, progress is still being made but unfortunately I have nothing to show at this time. Expect a good progress update by Wednesday. Stay woke!
  16. Hi! I'm not entirely sure if I have to place this thread here, but I havent found anything else for animations. I'm posting this because I'm currently developping a game on Unity, and I'd like to animate my characters. ( I'm creating a retro-style game with 64x64p characters, or less ) So, I'm looking for someone who can animate some characters [deleted by moderator]
  17. I recently released a project called Francois DIY - my version of Mario Maker and I am in the process of making levels. Playing my own levels is fun but playing other people's levels is even more fun! Anyways, this is more of a want than a need but I'm starting to get addicted to Francois DIY and Mario Maker! Link: More Info Download Link: Click Here Installation Instructions: Copy francoisdiy to PC and click on francoisdiy.bat if you are on Windows. Linux users refer to website. Please feel free to download the software. There are no dependencies. Do not use versions of Windows older than Windows 7.
  18. Decent progress today. I'm lucky enough to have an artistically gifted family (minus myself of course). I've got two artists currently working on concept art for the theme of the game. Initially, I hadn't given much thought to the artwork, but when I started thinking about it I realized I need to utilize my resources better for a better game. Initially the idea was a sort of cartooney, fun, colorful theme with the architecture and characters being western medieval knights (I finally learned how to spell medieval correctly today... congrats me). However, there are many opportunities to break out of the standard here. Feudal Japan is obviously another appealing choice. Who doesn't like samurai? You've also got China, eastern Europe (Russia), India, Egypt... even fantasy such as Game of Thrones, Lord of the Rings, etc. So many different and interesting choices. Of course, we don't want to make a fan game or anything, so we'll simply be drawing influence from these things. I'll post some of the concept as soon as I get it. I also got together with another programmer and we talked about the idea and specifics in terms of UI and enemy behavior. All in all, good progress! Here's a shitty diagram of the basic idea of the game:
  19. This is the first game i have made and was more of a practice game before I try something bigger. But I might start another small app next as I'm still learning! This game was written in Java using the LibGDX framework which I love. It also means I can port it to IOS and HTML which I'm hoping to do. My sprites and textures were taken from free sources, such as www.freeclipart.org, as I can't do graphic design or game art. I'll need to fix this if I'm going to try something bigger. You can download the game here: SubSea My games FaceBook page Any bugs can be posted here, if anyone wants to play it. Thank you and good luck.
  20. PersuaderGames present Why we made the game Hello dear reader! Thank you for taking a look at this post. This game project started about a year ago. Fascinated by old-school adventure game and the lack of games available for mobile devices (Telltale... it could have been all so good...), we decided to do the impossible. Reviving a dead genre for a device mostly known for quick, shallow gaming: Smartphones. Long story short, after long preparations, mostly focused on the right feeling and getting the hang of the technology (none of us was a developer at the beginning), we finally finished the demo for our showcase project. Enjoy!! Introduction Paris, present time. After a tough night roaming the streets, our hero (somehow employed by the Paris Police Department), get a call. A suicide in the city center, fancy area. Business as usual. But is it really? Dive into the city of lights, find the clues and solve the case in this open end adventure game. Detective Trapu is a non-linear adventure game where you take the role of the detective. Will you be able to crack the case and solve the crime? Demo This is a demo. The game is in alpha at the moment, most of the content and scripting are present. We would be glad if you could give us some feedback! Write us anytime at persuadergames@gmail.com, just to say hi! DEMO Download for Android: https://goo.gl/bDjLCh Please check the Credits at the end of the demo. A lot of very talented and dedicated people helped to make this game possible.
  21. Hi, I am writing a Windows multithreaded SDL 1.2 application, and am trying to fix a performance bug by process of elimination (graphics thread only wakes up once every 5 seconds for now). The bug is that when I move the mouse in circles, everything is fine for the first 50 seconds (smooth mouse movement and low CPU usage), and then the CPU usage spikes and the mouse starts to lag and skip rather than move smoothly. I am taking mouse input in the input thread as follows: while (SDL_WaitEvent(g_pEventData)) { ... SDL_Delay(10);//this was the recommendation i saw when researching perf issues } Windows Performance Analyzer tells me theres a large amount of CPU usage taken by KernelBase.dll!SleepEx which I THINK is called internally from SDL_WaitEvent in the loop above. Does anyone have an idea why the CPU usage suddenly spikes and performance lags after 50 seconds although I'm making the same circular mouse movements the whole time? Thanks.
  22. This game started as a practice project. It's the classic game of Snake, but with a twist: you have to control two snakes at once, they score points separately, but in the end you get the lower score of the two (so you have to balance). You have two things to collect, one gives you point depending on the length, the other gives no points at all, but increases the length, so you need to find the balance here as well. On the "client" side, I use p5.js and jQuery,It has a highscore feature (which turned out quite difficult for me): on the server side that's node.js and MongoDB. I'm a beginner in programming,but I've learned a lot from this and it was quite fun so far. What do you think about this game? How to improve it? Is there something you would do differently? You can check it out here: http://serpents.ga
  23. Hi there,I'm the developer of "Silver Horizon",RNGSilvercraft. ======================== "Silver Horizon"is a 2d shoot'em up game. Aside from the standard shoot'em up gimmicks,this game allows you to level up your ship for later stages. The game is inspired by the Gradius series and Touhou series. This game was made by using MMF2.5,with soundtrack made by using FL studio. The game featuring: *A level up system(customize your ship by getting exp points) *Two different play style *6 original stages with unique musics The control and instruction of the game can be found in the "readme"file. Download link:https://rngsilvercraft.itch.io/silver-horizon ===================================== This is the first time I develop a full-sized game,since I have only made minigames before. The whole game,including programming,art,graphic,story,planning,even the soundtrack,is all made only by myself. I have to admit that I'm not really good at drawing,and since I'm from Taiwan(I'm only 18 BTW),there might be some grammar mistakes or misspelling here and there in the game XD. After approximately 80 hours of works(I supposed),this 6-stages-long game was finally finished.There might have some minor bugs I didn't find when testing. If you find any glitches,please let me know. My email address:yi88613@gmail.com BTW,I hid a pretty overpowered easter egg in the game.See if you can find it Please support my game! The trailer: My soundcloud: https://soundcloud.com/pk0m5zydjazg My youtube channel: https://www.youtube.com/channel/UCiQ4F7WZ5-soYvvgrXEyd1Q Screenshots:
  24. Hello everybody, I have a Question about 2D Pixel Art Games. (English is not my native language sorry) I love Pixel Art and games made with it, so i was thinking about digging a bit deeper into this subject and make a small game with this art style. Nothing special, just a simple prototype-like game. As i was thinking about it and looking through some Youtube videos for some inspiration and help i came across a problem and i don't seem to find a solution for that problem - er maybe i don't like the solutions that came into my mind. It’s, as the title says, about changing visuals of the player character. So i get that right, that, if i would like to change the upper armor part of the character, i would need to have every single animation for that character redone with that new upper armor part? If i have an idle animation of 5 frames and have 5 different upper body clothing choices, i would need to make that same idle animation 5 times, which means 25 different frames? Not to mention, that if i make the game isometric, i would need that same idle animation 3 times? 1x left right which would be mirrored i guess. 1x facing up and 1x facing down? Is this the only way for Pixel Art games? or are there any tricks/tools i don't know about?
  25. Before we start our development blogs, we want to share our insight about us and the game. What is Alchemica? Alchemica is a game being worked on by a development team consisting of two people for several years. It is a free RPG game for Android with some unique takes. Players take the role as Charlotte, a young alchemist striving to become a successful merchant. During the course of the game, she can use materials taken from the world to craft various potions and bombs. These items can then be used for battles. The main idea is that she doesn't use conventional weapons, instead relying on her own expertise in crafting items to defeat monsters and gain loots in the form of more materials from them, thus repeating the cycle. Charlotte also owns a store, the one she wants to build reputation on. She can directly sell loots taken from dungeons for gold, or use the time to craft better items as they are worth more. Visitors will come to her store, and she must haggle with them to win her hard-earned gold coins. What does Alchemica looks like? As a die-hard fans of classic JRPGs, Alchemica is entirely made with hand drawn pixel-art to emulate that retro look that we hold dear. Battles are drawn out in that classic turn-based style, while dungeons are randomly generated. Hare are some screenshots of the game for people who are curious. Where can I try Alchemica? If anyone here is interested to give it a try, here's the Google Play link: https://play.google.com/store/apps/details?id=com.gdi.crunchybit.alchemica