I studied Medicine for 5 years. Then became a freelance illustrator. Then was admitted to a major Art School.
I illustrate games :)
I studied Medicine for 5 years. Then became a freelance illustrator. Then was admitted to a major Art School.
I illustrate games :)
Ludum Dare 25
Ludum Dare 24
Ludum Dare 23
The Construct 2 User Award
Awarded by 7Soul on December 19, 2012
I’m in again. I hope. Work schedule is very tight unfortunately.
Construct 2, Photoshop and FLstudio are my weapons of choice this year. I will have very little time, so hopefully the theme will be very interesting
Yes, a CaveStory-ish metroidvania, where you control a squid, with an unorthodox control scheme
What does it remind you of?
Why of course, my game, Trina
As my Arts Professor said, it’s all been done before. It’s all about different treatment of the same subject matter.
Disappointed and super-excited at the same time! On the one hand I’m not original, but on the other, I’m not alone in thinking an underseas game with bizarre controls is worth experimenting with.
Has this ever happened to you? Does it discourage you? Does it make you want to do better?
This is the postmortem for my game Trina of the Depths ( play it! ).
::: Development Notes :::
I worked alone on this one, because I couldn’t find a coder to partner with.
It’s the first game I ever made myself. I’m an illustrator by trade, and have never been (and probably will never be) a hardcore coder.
It was very hard work, since Saturday morning through Monday evening, I slept about 10 hours total.
I used Construct 2, FL studio, Photoshop and Flash.
About the theme: I couldn’t top my last LD submission, which was about an evil dungeon lord trying to destroy a hero, using traps. So I thought I’d go with my second idea, controlling an evil octopus. So this whole RPG/metroidvania idea developed in my head, about Trina, daughter of the evil Sea King and the secret of her birthright. And it really worked for me, to the point that I’m going to make it an actual game.
:::How I spent the time:::
I really wanted a control scheme that captured the feel of an octopus slicing through water. Therefore I spent some 8 hours developing the control scheme.
Trina, the heroine, is controlled via cursor keys, in a unique way. Pressing a direction doesn’t move Trina, instead it charges her corresponding vector, horizontal, vertical or both. Movement occurs after the release of the cursor key(s), and the muscle meter on the bottom left is accordingly drained by the effort.
Since Trina seemed to be falling too fast (she is in the sea, and this just wouldn’t do), I also implemented some resistance to gravity, not in the form of passive Lift, but in the form of a last strain of her muscles/parachute action. For 30msecs after finishing her ‘jump’, trina will try to stay afloat, giving the muscle meter time to recharge.
This simulates a movement that requires judgement and thinking-ahead, like an octopus might plan. After you’ve made your mind about your target, you jump towards it. The result is a very exact, very elegant control scheme, that most players so far hated?? Wait, what? More on that later.
When I was satisfied with the control scheme, I added an enemy, a cute fish, which naturally hurts (and annoys) evil Trina. I struggled with its behavior, AI and patrolling patterns, and in the end managed to only get one to spawn…
Music-writing sessions were interspersed throughout Days 2 and 3, to ensure maximum inspiration, and time to go back and re-do things. I ended up with three themes, a main tune, an encounter scherzo and a battle theme , using old soundfonts and a sampled gameboy Bass sound.
Day 3 was about damage control (since I hadn’t succeeded in properly implementing enemies) and level design. I also made rapidly prototyped level blocks. For this I took one giant background and start painting directly on it, taking care that assets do not overlap, so I can lasso them and export them later. This way I work super-fast without overthinking everything, I have a good idea of what my assets will look like when overlaid on the game background, and I don’t have to worry about layers and CPU performance at all. It’s the technique I’ve used since my first LD#23 and I wholly recommend it.
Here’s a screenshot of my almost final assets file:
And what my final stage looks like:
:::What went right:::
:::What went wrong:::
And that was my entry. I hope you enjoyed it
Random music composition tools. Better music means more polished games. Random generators are fantastic for inspiration, even to hardcore composers. Compiled with the help of Zeik and ChainedLupine in the LD chatroom.
These are all free except Easy Music Composer, and ACS which is shareware and in my opinion is amazingly useful even without a pro license. For me at least, ACS has an almost 1:1 ratio of success; it prompts immediate inspiration. I’ve personally found Wolframtones to produce quite meaningful ideas as well
Kindly suggested by AdventureIslands in the comments below. This is quite mind-blowing in fact.
Wolframtones <- algorithmic, very interesting pattern. Has preset genres like jazz, world, rock, etc.
http://www.soundhelix.com/ <- Sound Helix cool pattern-based compositions
( http://www.soundhelix.com/audio-examples )
Circuli http://www.earslap.com/projectslab/circuli <- ambient generator
Easy Music Composer http://www5f.biglobe.ne.jp/~mcs/emc.html
http://hp.vector.co.jp/authors/VA014815/music/English/autocomp.html< very very useful musical ideas. This is a must
Greasemonkey’s Autotracker-Bu <- Run “python autotracker.py”, you will get an .it file, then use your favorite tracker ( like http://schismtracker.org/wiki/Schism%20Tracker ) to export it to .wav or .mp3. ( link and description provided by jarnik )
http://www.bemmu.com/music/index.html <- music driven by a simple math formula. interesting convoluted results
http://www.earslap.com/projectslab/otomata <- freeware online version, paid iOS app
Please signal boost this post and if possible get it on the official site. What is a community without communal spirit!
Also be sure to suggest more of these
These are the tunes for my game Trina of the Depths . Only the first two made it into the game. The encounter theme was to be played when you met the crab seller.
Here they are in .ogg format
Made with FLstudio and lots of free soundfonts and my own samples of a gameboy bass
Thank you for a fantastic 3 days! I’m just beginning to scratch the surface of what all you people created. A definite improvement in content, I feel
Also, I didn’t manage to get all three pieces of music in the game (because I’m not a proper programmer), but I promise I’ll upload the soundtrack soon, as I’m proud of it too!
Thank you thank you thank you, for the fantastic experience, third time in a row!
Here’s a mystery snapshot
My engine is playable, and the controls are very satisfactory.
I also wrote two music themes. This is going to rock!!
And a great second LD#24 where Nathan and I made our hybrid-genre, sadly unfinished, super-ambitious Arcane Dungeons
I am in again!
I haven’t found a programmer, and have a deadline on Monday, so will go solo, and can only dedicate a few hours. But as we all know, a few hours in Ludum Dare time, go a long way.
So I’ll be using
and will keep my fingers crossed that the tiny amount of programming logic that I possess will be enough.
I’m probably going to make something tiny and not very ambitious, but watch out for my entry.
What a fantastic 3 days!!! Thank you LD! Congrats to everyone who entered, we make the community awesome.
I’m too dead to do a post-mortem right now, but it’s coming
Until then, here’s the 3-day timelapse of the art development for our game, Arcane Dungeons ( aka Evil Lord vs Angel for the salvation or perdition of a hero’s soul)
I edited out almost half the boring time inside Fruity loops, because I was just humming music to myself and that never makes for compelling viewing.
<- well, I animated this little guy. He is traversing the dungeon in a lemming-like fashion, so I crafted the following animations: walking, climbing, falling and attacking. More may be needed, but I think we’re good. The one on the left is the attack animation.
I also finalized the card format. Pictured here>
Nathan did all sorts of coding, and we have an alpha version that, as far as I can tell, knows all the cards and can deal the first hand. This is quite huge.
I’m getting down to business fleshing out the dungeon graphics. It’s going to be big tileable chunks of dungeon, in 3 layers so we can have some parallax.
After that I need to make the artwork for the cards themselves, based on their description.
Being a professional illustrator, I know that this job would be insane (30 cards), but that’s why I love LD !
I’m sorry to all the awesome people and your awesome entries, I just haven’t had time to comment.
Thanks for viewing
Lots of brainstorming!
We’re making a game in a new genre. It’s a mixture of lemmings, tower defense and a pVp collectible card game. The game is about indirect control of a hero. You play as either a force of good or a force of evil, and are trying to help or hinder said hero from reaching the other end of a dungeon.
A reverse lemmings game was an idea I had last year but never fear, all graphics and the very gameplay concept are being redone.
The theme of evolution recurs in the game. Firstly, the indirectly controlled hero keeps his/her positive and negative statuses like attack upgrades and slow/poison effects till the end. It’s the character evolution of RPG characters and I like to imagine the hero surviving or dying, having lived an adventure.
Secondly, the dungeon itself evolves. There are three slots on the floor, each of which can be filled up by evil traps and magical aids. Even if you replay the level, it will never be the same dungeon.
Thirdly, spells, traps and effects can evolve into something else. A spike trap plus a fire upgrade create an evolved flaming spike trap.
Finally, and most interestingly for me (it’s the first time I’ve attempted it at least) is that the music evolves. It’s not completely incidental, made up of tiny little phrases that come together in a perfect whole. I don’t have the time. But, the main theme is made up of a symphonic instrumental part and a separate piece of percussion and general mayhem, that can fade in and out at will, making the action more intense at specific points in the game.
And then there’s the battle theme which will come up when the tough gets going.
We spent all morning planning the game, the cards and their effects, the algorithm of the gameplay (Nathan did almost all the actual card game design, thanks dude)
I spent my day composing and performing the music. Tomorrow it’s graphics time for me and coding time for Nate.
Let’s hope we can balance the gameplay in time
This promises to be fun, tell your friends!
Ludum Dare 23 was my first. Me and awesome coder Fedor made a super-cool shooter called Kumiho, which came #5 in the Fun category.
This year I team up with Flash/Actionscript legend Nathan to hopefully blow some minds
Fedor will compete in the solo competition, I’ll post details so you can marvel at his game too!
Good luck to every single one of you.
Go play this. NOW! I’m in love!
OK, so here’s some development shots and various assets for our game, Kumiho
This is my visual reference chart, the visual references that most influenced how the game looks. Ikaruga has a prominent role visually, even though I did play some Jamestown, Touhou 8 and Xenon II to get a feel for things. I used a 21 color palette which grew organically as I added more and more stuff. It’s the strange shape at the bottom left of the timelapse. I also tried to keep with a vertical composition and Korean text, in its (less usual) top to bottom form, was a huge help in establishing the look. Korean and chinese drawings were also a big influence on the style.
I always like to have reference for everything before I start to work. In this case there’s background ideas, spaceship designs, photos of insects and stylized korean drawings.
When something needed animating, I just copied it into a new file and went on from there. Cases in point:
Long explosion. Again, Korean and Japanese art influenced the shape
the flappy wings of the squid boss. I realised, from looking at slow-motion squid videos on youtube, that the movement is essentially a sine wave. Even so, this took about 2 hours
The ship was my first animating challenge for this game. I had chosen an asymmetrical design, so left and right animations would have to be different, and not just a flipped over version.
The tentacles. This took 3 hours. Sine wave movement again, but these were harder. The two right tentacles are flipped versions of the two left ones, with a time delay of 3 frames, so that the movement looks more organic.
Hope this helps,
We’re proud of it and couldn’t wait to show this off to you guys! Please spread around, rate and comment
I will now attempt the daring feat of sharing what this experience felt for me, so we can all benefit from it as game designers/developers/artists.
It was exhausting and super fun. I particularly enjoyed composing the music, and how we came up with an interesting gameplay mechanic (teleportation).
Coming at it as equals and negotiating ideas did a world of good for our game. Our main inspiration was the Touhou series of games for Fedor (I’d only seen gameplay) and Ikaruga for me (finished the game several times).
I started doing graphics on Saturday morning. I worked on a mockup photoshop file full groups of layers, to which I returned throughout development. For example, when I needed a new enemy, I would fire up the mockup, draw the enemy next to all the other sprites and then paste it into another photoshop file and animate it separately. I would then export as individual .PNGs (Photoshop’s “Render Animation to Video” was very helpful).
Dropbox of course saved our lives, and we communicated through skype’s chat. In fact we haven’t even seen each others’ faces.
I used Photoshop CS5 for all animation and graphics, and Fruity Loops with free soundfonts to write and perform the music.
Fedor used Unity and I don’t know what else ^-^
Post mortem: We gave it our absolute best. A coding set-back made the scrolling clouds unusable, so Fedor had to wing it at the last moment, which left the background a little bleh in my opinion ( I had no time to make changes to the cloud graphics and scrolling). But even so, when at the last minute he managed to fix the clouds so we at least had some, it was very exciting. The level is very very well thought-out and very fun to play. It took Fedor, what, 6 hours? to come up with the patterns that complement the teleport mechanic. The 3 hours before deadline were, for me, mostly about helping Fedor out with any requests, like changing sprites or giving him a list with all the visual elements he had yet to implement. I made a second enemy ship graphic in 15 minutes, since Fedor made enemies with two different numbers of hit points, and I felt we needed to be able to tell them apart. This was done 2 or 3 hours before deadline, when Fedor was struggling with the stupid clouds. He added the second enemy graphic in the game 1 hour before deadline.
I also wanted finite lives implemented (9 of them, as many as the tails of the Kumiho fox-spirit), shown only everytime you are resurrected from a death, in order to keep the interface as clean as Fedor wanted it. Scoring wouldn’t have hurt either. But we didn’t have time to even negotiate it, because the ideas came too late. Even if they had come early, we wouldn’t have had time. I stayed up Sunday 12am to Tuesday 6am, and it’s the longest I’ve ever been awake.
So, overall, I couldn’t have wished for anything better, I had the fastest and best coder at my disposal, we had a crazy schedule and working hours, and implemented almost everything we set out to implement, and still had time for a little polish.
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