And we have virtually nothing running! How awesome is that?
I think we’ve gone pretty ambitious, at least a lot more than the previous times. There will be blood, monogame, networking, kinect and windows phone. I’m kidding, but just about the blood.
To be frank, I really do not know where this is going. We have a very solid idea of what we need to do, how the game should look and play, but now it remains to be seen if it is possible to cram basically everything in a fortnight.
Are you sick of Three Thing Game posts? Well, tough! Here’s another one.
Our words are Goldfish, Plug Hole, Invasion.
We are planning on making the game directly using Windows 8 VMs and Monogame. In such a short time span, ’tis a recipe for disaster if you ask me. But hey, it’s not like we have anything to lose, right? So far, only some art and some networking has been done. My partner will also be missing for part of the competition.
In all honesty, we went for something both idiotic and risky, because hard to make. Let’s hope we at least make the cut to the finals!
Who does not enjoy winning things? I cannot say I was not satisfied when our team won the last Three Thing Game. But winning a competition which only spans on the duration of student life does leave a bitter taste in the mouth. Since this is the last year for us MEng students, it will also mark their last year taking part in the Three Thing Game. Some other teams who have been taking part since their foundation year were quite unhappy about us winning three times in a row, which is easy to understand.
Here are a few tips from what I gathered throughout the competitions that I hope will prove helpful. Make sure you also check Rob Miles’ blog, for other useful infos. I know he wrote a post with tips and tricks, but I just cannot find it… If anyone finds it, please give the link in the comments, and I will update this section. Speaking of comments, feel free to disagree, this is purely advice, and I’d gladly stand corrected.
Take time to think.
I often see teams coming up with a concept in less than a day. This is mind-boggling, as everything a team will subsequently do revolves around that core concept. Getting the concept right should be something you spend time on. With a good concept, you will also thouroughly enjoy the competition! Taking time to think goes hand in hand with the next point:
Be evil with your ideas.
Be awful with them, as if you were a member of an elitict jury just waiting to tear them apart, like the Dragons on the BBC. When something comes as ‘The Best Idea Ever’, it might be a good idea to twist it, twirl it, and examine it first. Be a perfectionist. If something does not smell right (and there are many reasons for something not to smell right, as there are many more constraints in the TTG – see below) either drop it, or alter it in a way that remains meaningful to what the game is set to achieve. If you have an idea of a game that works and fits fine on very first hour, you are either a genius, or the idea will need refining. You’d be surprised how different (and potentially better) a game comes out when you had time to think hard. This difference needs to pop out at the design phase, and not at the implementation. The truth is, when you are starting to program, you must feel confident and have a clear picture of the game in your mind.
Do not be over-ambitious.
There is only a week. Think in terms of time, and how long making the game would take. Make sure programming the basics of the gameplay won’t take all of your time. This will give you some breathing space, and you will be glad to have some breathing time, which you can use in polishing the game.
Keep the art simple but coherent!
The game does not have to be pretty. It can, but it does not require very detailed/well drawn graphics to please the eye. However, what can make a game visually irritating is the inconsistency of its graphics. Like having an ugly texture in a very pretty game for instance, or using different graphical styles which don’t fit together. This usually happens when more than one person is working with the graphics, or when temporary art is left in because ‘it doesn’t look that bad’.
Mind the polish (I heard they are dangerous people).
Joke aside, and although it may seem like an afterthought, polish is extremely important. When speaking about the topic of polish, the phrase “You cannot polish a turd!” usually ends up being mentioned. While I agree with the principle, its opposite is, to me slightly different. A game with brilliant mechanics can be considerably less fun when it is rough around the edges. Take some time during development to refine the points that stick out, or the interactions the player execute the most. The key is to find which parts of your game are relevant to polish, and which ones would just be a waste of precious time.
(Brace yourselves, here’s a pompous bit):
One key aspect of polish is feedback to the player. Feedback, in a way, is the way of the game to tell the player that his/her actions have a meaning. Lack of feedback is often the biggest lack of polish. As Ralph Koster puts it in his Theory of Fun, what makes a game fun is the assimilation of the patterns of its mechanics. It is learning. A very predictable pattern which is easily learned makes for a boring game, while a complex pattern leads to a challenging game. But challenging can still be boring right? The question is how? A hard game becomes boring when it stops giving cues for improvement, or when you just don’t get them. It is when you just cannot be asked to identify its patterns. By adding effects, such as simple particles when an enemy dies instead of just making it dissapear, you will show the player the result of his/her actions, and encouraging the learning of the pattern. Feedback directs the learning process.
Make a small, but complete package.
As Rob Miles quite often points out, a game needs a starting point and an ending point. It does not necessarily mean “A main menu with several options and an ending to the story”. What it does mean however is: “When I stop playing, I must feel that I accomplished something”. In other words, I should not feel like I am stagnating. When player control is removed (death, win), things like a win sound or message, or even a change in the character’s behaviour (in Pocket Starlight, when the boy got too close to the darkness, he would start falling down as a game over sign) can express progression feedback and help the game feel more complete. The easiest way to make a game feel complete is to introduce a simple, straightforward goal(which self-provides the progression feedback to the player).
You do not need multiple levels to make a point.
Another important point is that the game should not necessarily have multiple levels. Multiple levels will likely require a level editor, and the time spent building it could very well be spend on making other things. The word game stands for something that can be played and enjoyed, but it does not necessarily require a full suite of levels. If it is immediately shippable and sellable, good for you, but if you can get the point of the game across in one, well realised level, it would be well enough. Even better, find a design that does not necessarily require levels (multiplayer? survival?…).
Integrate the words.
You WILL get silly words. Everyone does. Everyone. The key in getting a game that fits with the theme is… well… to have the theme fit. Many people (including my team) have a more or less precise idea of what game they’d like to make. And when the words are attributed, this idea needs to change. Tacking on the words is not the solution. They must fit not only with the graphics, but with the context and the gameplay. Keeping the same game concept will only get you as far as a game with three things taped on it. Which is why you will absolutely need to go creative with the words. Being litteral isn’t always the best solution. (And I’ve heard that Nicholas Cage will be in the next word selection. Hope no one’s gonna be litteral with that one.)
Sometimes tacking on the words gives a wacky, zany result… And most of the time, to the point of mental indigestion. The game can be crazy or weird, but it still needs to make sense, to have a common ground on which the zaniness can stand on.
To conclude. DO. NOT. MAKE A PLATFORMER.
Choosing to make a platformer summarises most of the issues covered up there. They are harder to make than they look, they feel unoriginal in terms of the words (and making an original platformer gameplay would be even more time consuming), they often require levels, polishing them is a lot harder.
Only try going for a platformer if you are ABSOLUTELY SURE of what you are doing and how much time it will take to build.
And most of all, have fun, eat pizza, and wear a silly hat!
I was thinking of making a Three Thing Game Retrospective post, about the TTG of March 2012. In fact, I have been writing and rewriting it for months (with a whooping 18 revisions), as I was dreading us being hated even more (that is Rob Marshall and me). Since the next TTG is getting close fast, I figured it would be a good time to finally post the draft. Here it is then.
Well, here we are, the Three Thing Game is once again over. And something happened too…
I figured I would do like all the other bloggers out there and tell the tale of how the whole thing went.
THE AUCTION AND THE IDEA
A few thoughs about the original game idea.
Since the words were going to be in a bid, my initial thoughts were that we could come up with a vague game concept before receiving the words themselves. That is, just a game concept. If we had some really mismatched words, we’d have to find something else. One thing NOT to do is building the words around the game. Since the PSVita had analog sticks on both sides, the idea was to take it sideways, and use it as a cooperative game. For once, I wanted to make something different, that would appeal to more than the shootey-stuffey satisfaction. If there was a word I desired most, it would have been ‘love’ or ‘union’, as I really wanted to capitalize on the relation between the two characters on screen, and having their interactions being meaningful. This is mostly when the ideas for a ‘life-regenerating hug’, and the ‘the closer, the stronger’ came into play. Though these mechanics were being thought as part of a cooperative game, they are still part of the final product.
Rob and I also came up with an interesting concept of betrayal. Players would originally share a heart-shaped life bar, which would split into two separate life bars at the moment of betrayal. The player killing the other would gain some bonus mutiplier for his final score, but it would make things harder, of course, since he/she is now alone.
…And then came the word auction. We failed at most of our bids, which resulted in the words being
… BOY, CONTRAPTION, HIGH JUMP
Which, in all honesty, was not that bad, although it clashed with all of the ideas we had for the project. So we decided to alter what we had in mind to base the game on the words. The coop game became a twin-stick solo game, where a ‘link’ between two characters would help destroy enemies. We focused our attention on the backstory and making the game feel organic, mostly by establishing links between the words and the game that were more than dimensional. For instance, we brought forward the concept of the contraption, by imagining a stick which essentially absorbs starlight and creates the link between the two characters. A boy finds this contraption, which sends him flying into the sky with his teddy bear to rid the sky of a swollen darkness that ate the stars.
Most of the work during the week was spent porting our game libraries to the Playstation Suite. Since basic classes such as Rectangle were not included, and drawing had to be done with vertex buffers, there was much that had to be made (and remade). When we came in to the final push, we had the two characters moving on screen.
THE FINAL PUSH
As everyone knows, the week-end is mostly spend on working overnight make the game. And the whole thing just feels like a blur to me now. A blur full of C#, shortcake, pizza and foam darts.
All I can say, from what I remember, is that it went flawlessly. No SVN problems (thanks a bunch Rob -Miles- and Rob -Marshall- for both setting it up in your own rights), and no bloody computer failure at 1 in the morning! For those who did not know, I had to cope with having no working Visual Studio last time, as it decided to BSOD my laptop when updating to SP1. Fun times.
Fenner labs was actually a whole lot more enjoyable than I expected. See, before the event, I was dreading how being in Fenner would feel “like I’m still doing that Neural Nets coursework”. Thankfully, the overall cheerfulness of people really made up for it. Fenner also allows to express the full potential of the long-ranged motorized Nerf gun. I apologize to the people 40 feet further. I made it rain. Lindsay, I do not apologize. You shot me in the privates.
Then, there was the point where I got tired. There are two stages to me being tired. Stage #1 is me running around like a madman and being generally overly energetic and happy. Stage #2 is the absolute opposite. I am stressed and angry, and I start shouting at things. I am sorry I shouted at you Rob Marshall!
Personally, our victory was a surprise for me, as I found the whole reveal to be quite funny. First, the finalists were selected and got the occasion to showcase their game in front of a large audience, comprised of the other teams and a jury (including a guest from Sony Liverpool!). Being part of the finalists, I knew we somehow stood a chance. But in my mind, there wasn’t a possibility of them letting us win for a third time. I tried to take on the audience during the demonstration, and ended screwing up on several occasions due to the deadly combination of stress, tiredness and energy drinkness. Then, it became increasingly clear in the countdown. When at each spot we heard the name of the team that was not ours, we had that doubt increasing in our heads. Is this possible? Did they make us win again? Well, turns out they did. And it is under a sea of (friendly?) boos that we went on stage and collect our prize, a dedicated poster of Wipeout 2048.
I am preparing another post where I will get together a couple of pieces of advice acquired through personal experience. I hope it will prove useful to some first timers!
TNT might be a tad misleading name, as this game is not really based on any kind of explosion.
The game was developed alongside Rob Marshall as part of the Three Thing Game of October 2011, and won first prize.
The game is for Windows Phone, and is based on the three words ‘Tomb, Ninja, Travelodge’ (hence its name, TNT). It is a side-scrolling game, where the player assumes the role of a ninja, who is tasked to escort a group of travelers (who incidentally are stupid enough to travel at night) through hordes of zombies and other creatures from beyond the grave. When a traveller gets hit, he/she will turn into a lovely angel and slowly ascend to meet his/her maker. At least one traveler must remain alive when reaching the next safe point. Safe points, of course, happen to be Travelodges.
To protect the travelers, the player has a variety of tools.
A standard shuriken attack, which targets one zombie.
A slice attack, which targets all zombies it crosses.
A burn attack, which deals damage over time to all zombies it comes in contact with. The player must hold his finger for one second on the screen to activate it, making it a bit more risky to pull off this very powerful attack.
Zombies (so far) come in two fairly standard types. A smaller, and faster zombie, and a big, fatter, bulkier zombie. Every time a zombie takes damage, a part of its body is taken off. The amount of damage a zombie has endured can be guessed by how many body parts it has left. Tombstones will regularly spawn zombies, while coffins are free for the player to open, and may yield a coin reward, or another zombie. Zombies themselves pop in satisfying bursts of coins when slain. The amount of coin obtained for each zombie is subject to a multiplier.
So far, coins do not have any use in the game, although they will be used to purchase upgrades.
To this day, I took the development back from scratch (while Robert Marshall is focusing on Warrior Koalas on Mars), and I am planning to release it to the Windows Phone Marketplace. The game’s title has changed “It’s Not Safe Outside”.
A few new features include semi-random upgrades, new enemy types and genetic-based difficulty increments.
It is now quite late, and I have not had any sleep this week-end. I shall now go to bed and try to get some shuteye.
I do not really know what to write to be perfectly honest, apart from the fact I am in a highly euphoric state (for obvious reasons). This post mostly says the exact same thing as the last, which is “I will post something bigger and more complete later”. I cannot wait to sum up those twenty four hours of fun, programming and nerf gun toting action. Our words were Boy, Contraption, High Jump. But I will elaborate on that later.
So that I don’t feel like I’ve wasted your time, here’s the picture of a horse.
The previous Three Thing Game still feels incredibly close. I am still working on refining our game from last time (Tomb Ninja Travelodge), and here we are, about to start another project. Team ‘The Infamous Two Sirs’ is composed of -wait for it- two people, Rob Marshall and myself. We managed to drag ourselves on top the two previous occasions, and I am curious to see how we will fare this time.
Because, you see, this time is different. Sony’s involved. Woopdeedoop! We will apparently get a visit from Sony Liverpool (the Wipeout guys) to assess people’s games, products of blood, sweat, tears, and various other bodily fluids. I am sure this will be an extra source of motivation for both us and the competition.
At the beginning of next week, three words will be picked at random. Teams will get cracking on a game based on the themes defined by these three words.
In case you are wondering which kind of words teams are assigned, here are a few samples off the previous batches:
Spanish Kumquat Bikeride
Bedroom Steam Explosion
Vampire Maze TV Show
Giant Sniper Of Doom
Our past words were ‘Warrior Koalas on Mars’, and, as mentioned above, ‘Tomb Ninja Travelodge’.
– This time around, I’d like something with love and flowers.