Introduction: Whilst at Automaton I worked as a Level Designer, where I iterated and developed world content for Mavericks a next-gen Open-World MMO FPS developed in CryEngine using SpatialOS.
Platform: PC, Xbox One, PlayStation 4 | Time: 2 months | Role: Level Designer | Team Size: ~40
Design Goal: Deliver a 1.8km battle royale play space for the alpha release of Automaton Games’s original IP‘Mavericks’, a next-gen Open-World MMO FPS developed in CryEngine using SpatialOS.
Paper Maps
Papers map concepts.
Natural World/Minor Points of Interest (POI’s)
Iterated and developed the natural world whilst distributing minor points of interest for further iteration by art. Major tasks for this included:
Reference gathering.
Terrain sculpting.
Texture painting.
Foliage placement.
Blockout, and iteration of POI’s.
Mid Size POI’s
Blocked out, and iterated a number of mid sized points of interest.
River VIllage
Sawmill Deforestation Iteration 1
Sawmill Deforestation Iteration 2
Iterated on flow, and cover of existing mid sized points of interest.
Large POI’s
Sawmill POI
Trainyard POI
Biomass POI
Enhanced existing major points of interest, as well as blocking out significant areas of the Sawmill, and Biomass POI.
In this article I will chronicle the design process and lessons learned in creating Trash Traders a multiplayer iPad game aiming to empower a sustainability mindset.
Introduction
At Carnegie Mellon’s Entertainment Technology Center (ETC) multi-disciplinary teams work on projects over a semester to create an artifact. While attending I was the primary designer on the project which created Trash Traders.
Platform: iOS | Time: 15 weeks | Role: Game Designer | Team Size: 6
Design Goal: The goal of the project was to promote a sustainability mindset in our target demographic.
Design Challenges: We faced a number of design challenges during this project including:
System design
Setup & Tweaking
Multiple difficulty configuration
UX challenges
UI Design
Tutorial
Trash Visuals and Content
My Contributions: As the game designer on the project I took the lead on directing our creative efforts. My efforts helped create a well received, fun, and engaging experience which made a good attempt to achieve our transformational goals. Other areas I made significant contributions in were:
An ideation process that created the main mechanic of the game
Introduction: Angle Jungle is an award winning puzzle game built by a team of students at Carnegie Mellon University’s Entertainment Technology Center in 15 weeks for Pennsylvania’s Intermediate Unit 1. Angle Jungle has value to first graders and above, its primary purpose though is as a supplement for 4th to 6th graders learning basic geometry.
Awards: Serious Play 2017 Gold Award Winner, CHI Play 2017 Jury Award Winner, Finalist for 50th Carnegie Mellon University Founders Award
Platform: iOS | Time: 15 weeks | Role: Game Designer | Team Size: 4
Design Goal: The goal of the project was to achieve the following transformations in our target demographic:
Primary Transformation: Build familiarity with the angle by having players solve puzzles that use a mechanic that encodes the numeric and spatial representations of angles
Secondary Transformations:
Introduce positive and negative angles
Introduce clockwise and anticlockwise rotation
Introduce angles greater than 180 degrees
Build familiarity with the protractor tool
Design Challenges: We faced a number of design challenges during this project:
Protractor tool introduction
Finding an mechanic which made angles essential
Crafting fun and engaging puzzles
Crafting additional sources of motivation
My Contributions: As the game designer on the project I took the lead on directing our creative efforts. My efforts helped create a well received, fun, and engaging experience which made a good attempt to achieve our transformational goals. Other areas I made significant contributions in were:
An ideation process that created the main mechanic of the game
In this article I will chronicle my design process in creating Angle Jungle an award winning transformational puzzle. Then how I went creating the puzzles within the experience, and finally lessons learned.
Angle Jungle is an award winning educational puzzle game for fourth to sixth graders studying geometry. At the start of development our requirements were up in the air. Following discussions with our client we settled on the following objectives:
Our ideation process began with brainstorming based on the objectives of our project. We then went through two iterations of paper prototypes.
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From our paper prototypes, we choose to refine two based on feedback.
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In parallel we began the process of creating digital prototypes based off these paper prototypes.
Pirates Life – Digital
Our breakthrough moment came when Jesse Schell, a faculty member at the ETC, posed to us that though these games used angles, both could be played without thinking about angles. We needed to make an angles essential experience. This priceless notion lead us to create Angle Jungle’s progenitor which we called Treasure Hunter.
Treasure Hunter V1
Treasure Hunters mechanic encoded the relationship between the numeric and spatial representation of angles. This was achieved by having players use numeric representations to create spatial representations in-order to solve a puzzle. We believed this embodied a system where angles were essential. We then began refining Treasure Hunter.
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After positive feedback from playtesting we next created a digital prototype.
In the above video players slot numeric values into a beam maker which creates a spatial value. A certain spatial value is required to hit an objective to solve a puzzle and receive treasure. This digital prototype then went through many more iterations.
At this point in development we had the foundations for an experience. What was needed next was to design that experience.
Experience Crafting
How does one go about creating an experience? There are infinite ways, but we began with considering the difficulty curve within our experience.
Difficulty Curve
The above graph is an abstract difficulty curve which displays a sequence of tense and release cycles of increasing difficulty. This curve would form the underlying foundation of our experience.
Gameplay Elements
With an idea of what we wanted the experience to look like, next we conceptualized the elements within the greater experience. The inspiration for this process came from a number of sources including the learning materials of our target demographic.
Our aim was essentially to gamify our target demographics learning material. We would achieve this through gameplay elements which attempted to capture aspects of the kind of problems they faced in the classroom. These gameplay elements would form the core components of the experience.
More Motivation
Whilst conceptualizing our gameplay elements we also considered the possibility that the puzzle may not be intrinsically motivating enough for players. Therefore we created two additional supporting motivational factors.
Supporting Actor
A gender-neutral character that needed assistance (inspired by Jesse Schell’s Lens of Help). Given the use of supporting characters in educational experiences is common, and there exists research on the potential beneficial effects for players. We hoped this would augment learning within our experience.
Golden Expectations
In addition we created The Cabin. The Cabin would contain rewards in the form of treasures and trophies. The Cabin would act as motivational element by creating Golden Expectations (expectation of rewards) through the aesthetic use of empty shelves as well as serve as a measure of game progress.
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We also recognized the need to space out our rewards for better impact. We therefore arranged rewards into evenly spaced intervals.
All Together
Together these pieces could further flesh out the difficulty curve of our experience. The peaks of our difficulty curve would now commonly correspond to the introduction of gameplay elements, and the dips would be periods of rest at The Cabin.
The experience needed more though, it cried out for substance in the form of puzzle content.
Transformational Puzzle Complexity
With a high-level view, and the fundamental elements of the experience in mind we went about crafting a set of transformational puzzles.
This process resulted in a jumbled pile of puzzles. This was a good first step, but it did not fit the experience structure we wanted. We therefore turned to a mighty tool. The spreadsheet.
The spreadsheet consisted of columns of each gameplay element which we incrementally increased to raise puzzle complexity. This tool complemented the design process as we created more puzzles based on these new complexity constraints.
Two additional considerations came to mind during this process:
Include drops in puzzle complexity when introducing new gameplay elements to allow for more effective tutorials.
Have the majority of learning occur early when complexity is low.
The result of this work was a structure of thirty levels which we then playtested.
Although initial playtests were largely positive they revealed two design issues:
Lack of Angle Diversity – High occurrence totals of fewer number of angle values in the total experience meant a lesser exposure to different angle values.
One Gem Solutions – Solutions which required only one angle gem on more complex levels meant less interaction with different angle values.
Both issues were detrimental to our goal of building familiarity with the angle system. Therefore, two methods of analysis were used to solve these issues:
Angle Distribution Analysis – Counts of each angle value used.
Angle Solution Analysis – A comparison of solution angles against angle values used.
These methods revealed a number of such ‘issue’ levels.
Angle Analysis Results – First Pass
The result of iteratively applying this analysis was that both the complexity and angle diversity was maintained and improved. This ultimately meant a better attempt at achieving our transformational goal.
Occurrence Totals of Angle Values
Transformational Objectives
At the end of the project we ended up with a concrete primary transformational objective, and several secondary transformational objectives.
Primary Transformation
Build familiarity with the angle system by having players practice solving puzzles using a mechanic that has an encoded relationship between the numeric and spatial representations of angles.
Sharon Carver – ‘The actual angle choices at the various levels and the angle meter seemed to work well and COULD promote learning of the concepts and spatial relations of angles, as long as students don’t game the system’.
Secondary Transformations
In addition to our primary transformational objective we took the opportunity to introduce a number of secondary transformational objectives in manners that were natural extensions of the core experience (providing the experience with more puzzle content).
Protractor Tool Usage
To solve a puzzle, players had to work out the angle that was required to be made. This was difficult for some playtesters and therefore provided a natural opportunity to introduce a protractor scaffolding tool.
By making this tool available we built in the protractor in a manner that was of a natural clear benefit to our players. We hoped by doing so to build familiarity and appreciation of the tool by creating a puzzle environment where it was undoubtedly helpful. Playtesting showed that this strategy ‘seemed’ to work.
Sharon Carver – ‘I especially like the meter that shows the full 360 degrees while the player is working on selecting angles. It would definitely be worth testing the impact’
Introduce both anticlockwise and clockwise rotation, and angle addition and subtraction.
Angles Above 180
Expose students to angles greater than 180 degrees.
Design Considerations
Whilst exposing students to our core mechanic (an encoding between the numeric and spatial representation of angles), initial levels would allow brute force approaches to be rewarded in order to draw in the player with easy rewards.
Allowing for such ‘brute force’ (choices made without solid reasoning) approaches, resulted in the following criticism being raised:
What if players are not doing the thinking you want?
In the defense of brute force, we responded with the following counter points:
Absolute mindless play is rare, so since the use of numeric angle values are essential even with a brute force approach, players are likely to at least reason about this aspect of the game.
Supporting brute force approaches makes the experience more accessible (we had first graders reach level 22 with help!).
Brute force approaches are only reasonably satisfying in low complexity puzzles (playtesters who solely practiced a brute force approach experienced frustration on more complex puzzles).
Most importantly though, we admitted that when complexity was low players would not have to think ‘much’. This was intentional. The experience allowed it for a deeper purpose.
We intended to combine that brute force motivation together with puzzle complexity as a transformative tool to incentivize a ‘logical’ approach. As puzzle complexity slowly increased the experience would naturally create skill appropriate ‘teachable moments’ for teachers to capitalize on.
Results
The results of this process created an experience that contained:
Suitable learning and puzzle complexity curves
An appropriate pattern of tense and release
Appropriately interspersed rewards
An exposure to a wide variety of angle values
A mechanic where angles were essential (encoded the relationship between spatial and numeric representations of angles)
The transformational puzzle complexity in Angle Jungle can be best exemplified by the following diagram (note it dips at times of gameplay element introduction).
Number of Gems against Level
Well what did the games design ultimately translate into? Get a glimpse in the following promotional video (I’m happy to share raw footage on request).
Lessons Learned
So what can we take away from this experience. First some classics:
Paper prototypes are your friend!
Ask yourself can I play this game without thinking about the core subject matter? Is the subject matter essential to the experience?
Consider experience curves from the get go to help structure your experience
Study your target demographics source material, and use it as an additional source of inspiration in your design process
When introducing new gameplay elements introduce it in a low complexity environment to make learning easier
Have most of learning occur early when complexity is low
When designing scaffolding tools try to design them in a manner that is of a natural clear benefit to the experience
If extending your experience is necessary, do so with natural gameplay elements that can serve transformational goals
Guess and check is not the enemy of education. In fact, I believe the availability of simple strategies can create accessibility to larger demographics
Additionally, whilst designing this educational puzzle game one question came to mind.
How can puzzles serve transformational goals?
At present my thoughts are twofold:
Well designed puzzles can create engaging experiences for players which designers can use to piggyback onto to achieve a transformational goal.
Puzzle complexity with brute force motivation can be combined into a transformative tool to create skill appropriate teachable moments at the boundaries of brute force and logical gameplay strategies.
Introduction: Developed on the Oculus Rift with PS Move, DinoRancher had guests play atop a Triceratops armed with an electric lasso. The goal of the guest was to shepherd a herd of Stegosaurus to safety, protecting them from danger.
Story: You are a DinoRancher armed with your electro lasso and trusty trike. Travel across the desolate wasteland, and protect your herd from those nasty predators!
Design Challenges:
Herd behavior
Enemy types
Environment design
Integration of the PS move into Virtual Reality
Trike movement system
Design Goal: To create an experience that made the guest feel like a cowboy travelling through the desert protecting a herd of dinosaur from predators.
My Contributions: As producer I arranged meetings, delegated pending tasks, and contributed creatively. In addition as a programmer I was responsible for setting up the games environment which included, asset preparation, level design and developing agent behavior.
Introduction: Developed on the CAVE with Makey Makey, NoseDive had guests play in the CAVE environment using airplane controls we constructed using Makey Makey.
Platform:CAVE, and Makey Makey in Unity 3D | Time: 2 weeks | Roles: Programmer – Game Designer – Producer | Team Size: 5
Story: Our game had our guests take the role of make shift pilots thrust into having to fly a plane to safety through a terrible storm when the captain has become incapacitated.
Design Challenges:
Adapting to the CAVE environment.
Creating an authentic flight simulator experience with an easily understand story.
Design Goal: To create an authentic story of saving the day through the game we created.
My Contributions: For NoseDive I was producer, designer and programmer. Being producer involved scheduling and coordination of our teams artist, programmer and sound designer. In addition I assisted my fellow programmer with environment and Unity prop setup.
Introduction: A Playroom was a developed on the HTC Vive. A virtual reality device that allows a guest to walk around a calibrated virtual reality space with hand held controls.
Platform:HTC Vive in Unity 3D | Time: 2 weeks | Roles: Designer – Producer | Team Size: 5
Story: The setting of the game is in a play room where the guest encounters a ghost boy who needs help in-order to ‘move on’.
Design Challenge: To design a game for naive guests, conduct play tests, and make three predictions of what the guest will do all whilst having the guest ‘feel free’.
Design Goal: Round 2 of Building Virtual Worlds was indirect control round. This required we build an experience that felt free, and was intuitive enough for a guest to play from start to finish without any instruction or guidelines.
My Contributions: I analyzed, and designed the guests interactions as well as wrote our main non playable characters dialogue. In addition I conducted play tests which gave us invaluable feedback which we used to further develop the experience.
Development
Interaction Design
I focused on interaction development by first analyzing what we currently had. From that I wrote a draft story design which was a rough version of what we would aim for. Our current gameplay was clearly a linear story experience, and I believed we could achieve a greater sense of freedom by allowing a player a choice of what game to play.
From this notion I created two different interaction models.
Interaction Analysis – Development Diagram
I then met with the team, presented my two plans. We choose plan 2 which I further developed into a more detailed version.
Interaction Analysis – Component Breakdown
Audio would play a vital aspect in driving this interaction model therefore I worked with our sound designer on a script for the game which we iterated over based on feedback (script documents).
Playtesting
Once the various audio cues, and interaction model was implemented we went about play testing the game. I conducted play tests with over fifteen naive guests which included an audience of fellow students, professors and non-students. This feedback was then used to polish elements of our experience.
Sample Play Test Feedback Form
In conclusion we correctly predicted each of the three interactions, and the guest understood our story, all with no guidelines or instruction from us.
Full Story
We began our project with brain storming, and research into the platform on which we were developing. We came up with several ideas including:
Darkness– Use light to guide the guest through a street.
Space Exploration– Explore the universe, and pick a planet to colonize.
Dreaming – Flying a plane, flying elephants, flowers turn to buildings (freedom from constraints).
Empty Room – Furniture place (guide them to a correct place).
Having difficulty grappling with the concept of ‘freedom’ we spoke to a member of The Entertainment Technology Faculty Jesse Schell. After meeting with Jesse Schell we honed in on an idea of a ghost boy which we would help in some manner through objects around him.
Next we thought about location, which was first a storage room due to it making sense to have many object, we then changed to a play room as it offer the potential for a ‘warmer’ environment for guests to feel comfortable.
After creating a basic room with a simple number of interactions which included:
Playing catch.
Place a train on the train track.
Hide & Seek.
Give a hug.
We had a prototype ready for interim.
Interim
After interim our two main points of feedback were
Make the boy and game generally less ‘creepy’.
To develop our interactions.
Less ‘Creepy’
Point 1 was a significant design challenge which we tackled by investing time into solving by:
Making our main game character look more human like.
Soothing music.
A warm game atmosphere.
A friendly, light and clear character voice.
Interaction Design
I decided to tackle point 2 by first analyzing what we currently had, then writing a draft story design which was a rough version of what we would aim for. Our current game play was clearly a linear story experience, and I believed we could greater the sense of freedom by allowing a player a choice of what game to play.
From this notion I created two different interaction models.
Interaction Analysis – Development Diagram
After meeting with the team, presenting the two plans and convincing them of the need to carefully design the experience, we choose plan 2 which I then further developed into a more detailed version.
Interaction Analysis – Component Breakdown
Implementation
Audio played a vital aspect in our experience so I worked with our sound designer on a script for the game which we iterated over three times based on feedback (script documents). In addition to audio we used a number of other techniques including:
Lighting – To direct the players focus.
Meeting the Boy
Color – Brightly contrasting objects such as with the yellow train on a blue chair, and a red book on a beige floor caught the players attention.
Train & Puzzle
Uniformity – A suggestive picture fragment was placed in the frame, and other similar looking puzzle pieces were placed around the level.
Puzzle Placed
After implementing these features with a new interaction model we went about play testing the game. We conducted play tests with over fifteen naive guests which included an audience of fellow students, professors and non-students.
Based on the feedback we received we continued to polish elements of the game. The end result of our work was that not only did we accurately predict each of the three interactions, but the guest completely understood the story behind our world all with no guidelines or instruction from us.
Story: Jam-O-Draw was inspired by the classic etch-a-sketch game.
Design Goal: We wanted to create a multiplayer artistic experience with a fascinating reveal.
Design Challenges:
Adapting to an unfamiliar platform.
Creating an aesthetically pleasing experience using visuals and audio
Having the user interface during the experience be responsive and informative.
My contributions: My primary role on this project was as producer which involved making creative contributions, arranging meetings, coordinating our artists, programmers and sound designer to create the game in a timely manner. My programming responsibilities included assisting my fellow programmer with development, and preparing the game environment and assets.
Introduction: Seize the Sky was built during Building Virtual Worlds at Carnegie Mellons Entertainment Technology Center. The world was constructed using Oculus Rift, and Leap Motion. Using these technologies we put our guest into a virtual reality space with an ability to use a natural interface in our world.
Story: A mighty giant heads towards a town with murderous intent. A country side boy notices, and cries to Zeus for help to defeat the giant to save the city. You are Zeus, save them all!
Platform: Oculus Rift + Leap Motion in Unity 3D | Time: 2 weeks | Roles: Programmer – Game Designer
Design Goal: Our design goal with Seize The Sky was help character A (the boy) who is afraid of character B (the giant).
Design Challenges:
Incorporating a satisfactory use of Leap motion.
Achieving our a sense of character A is afraid of character B.
Level design.
Game-play design.
My Contributions: As the lead programmer on Seize The Sky I made large contributions to the code base for this project. I also took an active part in the design process with working with the team to develop various aspects including game play, and level design.
Development
Iteration 1
The development process started with being assigned teams. In our first team meeting we made clear our skills, started brainstorming ideas, and kept good development processes in mind.
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During brainstorming we tried using several appropriate methods, such as gesture centered brainstorming (due to our use of Leap Motion). Finally we had five initial ideas:
Help mend relationship between characters.
Play piano to make baby sleep.
Use light to guide a character home.
Keep animal safe growing to adulthood.
Hold characters hand to guide them.
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With our initial ideas we further boiled them down to three concepts with the following reasoning:
Concept one was hard to conceptualize compared to our other ideas which seemed simpler and more clear.
Concept five could be incorporated into concept three.
Creating sketches of each concept we then sought out the advice of our professor Jesse Schell.
With Jesse Schells feedback we went with concept C, because we wanted to explore squeezing in Leap Motion.
We then began further conceptualizing the idea with sketches, and research into the capabilities of Leap motion and Oculus.
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With this in mind we began assigning tasks to complete, considering game play, and used a scrum board to assist us in tracking tasks.
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On the technical side we used a NavMesh, and simple A.I. to run the behavior of the Hunter and Deer. The behaviors of the two agents were essentially:
The deer always moved to nearest tree that has an apple.
The Hunter patrolled around fixed points, and if it came close enough to the deer it began chasing it.
The result of our hard work was the following.
We then received feedback at interim, which sadly wasn’t good…
Building Virtual Worlds at Carnegie Mellon University starts with each student being assigned a role in Round 0. Since I have a Computer Science background, my role was that of programmer; this entailed I build a world that employed a number of basic features in Unity, such as:
Loads models and textures.
Play animations.
Use intervals, lighting, collisions, and multiple scenes.
When considering the world, what I noticed was the amazing talent of the artists and musicians around me. It occurred to me what a shame it would be for their work not to be seen. I decided then that my virtual world would be a gallery of other peoples work. My first task was then to coordinate of assets with artists, and sound designers.
Creation
Artists were initially required to create animated lunchboxes, then dragons, and sound designers were required to create music for a clip of game play from a previously made world. I decided to meld the two by attaching audio sources to several of the artists assets that would constantly play music made by our sound designers.
Since I have some experience with planning in games, I wanted to have a look at the techniques used. After some digging I thought I’d put together a brief summary of what I learnt.
Dubai’s is turning into a major hub for gaming in the Middle East, and this September there was an awesome game convention by the name of Games 15, which I was lucky enough to attend.
At the convention were game exhibitors, distributors, artists, musicians, hardware and software vendors. Every major publisher was present namely Microsoft, Sony, Capcom, Konami, 2K and Ubisoft. A fine collection of folks.
Speaking of such Lara Croft was there. We didn’t hit it off…
Aside from that there was loads to do. Busting out some moves at the Just Dance open stage, rocking out at the guitar hero stand, grooving to the DJ Academy tunez, immersing oneself in the variety of virtual reality technologies demos, to trying out delectable game themed caramel sweets. I enjoyed myself thoroughly.
Black and White is where my interest in A.I. in games started. (A little context) Black and White is a god game designed and created by Lionhead Studios under the directive of Peter Molyneaux. In Black and White you are a god born of the prayers of people, free to do whatever you please through the islands of the game.
In your journeys you are eventually given a creature. A tiny little thing, it behaves just like a child – curious yet inexperienced and frightened of the big bad world. Similar to a child you can teach it, it will then think and act based on what was taught by you. Invest enough time and your creature can become your ultimate agent. It was a fascinating example of A.I. in games.
The Creature Cave
Black and White’s Artificial Intelligence was designed and implement by Richard Evans, and in my opinion it was the creature feature in particular that elevated the experience of certain aspects of the game. Employing sophisticated A.I techniques, it gave deeper meaning to your relationship with the creature, you felt responsible for it (well at least I did) having to train and look after it while it grew up.
Notable features related to the creature included:
Leashes – Which gave the player some behavioral control of the creature.
Creature Combat – Where creatures would fight autonomously when not commanded by the player.
A battle from Black and White: Creatures Isle. The Crocodile is controlled entirely by the game.
Thrillseeker is a game jam submission on the theme “You Are Your Own Worst Enemy” designed and created by my friend Sangseo Lee and I. The core mechanic of the game is that whilst flying close to passing asteroids gives you a higher score, doing so greatly increases your chance of crashing. It’s like Burnout in that the player is rewarded for high risk game play.
White blood cells play a vital role for our health, without them we’d be easy pickings to the likes of even the common cold. Play a moment in the life of a white blood cell and battle against an ever growing hordes of viruses and protect the red blood cells to keep your heart beating. Even better, do it with a friend! Happy hunting!
Immunity is a coop game that I worked on with Sangseo Lee, for the Global Game Jam 2013 at Edinburgh. It took second place in the local competition and was noted by the judges for best design. At the moment it’s written in Java using the Slick framework and can run on Windows, Linux, Mac and Solaris. Check it out at the Global Game Jam website here!
Writing a good, feature rich platformer engine takes a lot of work. Building a simple platformer engine is considered a case of ‘reinventing the wheel’. So it makes sense why some choose to find a pre-built engine to plug in to their game.
The trouble with this can be:
Getting it plugged in.
Figuring out how it works.
Finding it doesn’t do exactly what you what.
Seeing as the feature needs for a game I’m building are simple. I instead decided to learn the basics then build such an engine in Game Maker. For now, I’ll briefly run through the resources that helped me build a major part of what I’ve implemented. Collision detection.
Implementing collision detection can be a head ache if your new to ‘game physics’. So to help you on your way here is a good video by Shaun Spaulding which gives an in-depth look into how to create a platformer in Game Maker. I’d recommend watching the whole thing, in particular where he explains the basic concept of collisions at about 22:30.
The system he describes is basically a method of checking several pixels ahead per frame. If a situation arises where two objects intersect, move the moving object to a point where they are next to each other but not intersecting. This is the method I choose; there are many many ways of doing it.
So I’ve decided to start creating a game (about time). This isn’t the first game I’ve made, but it will be the first time I’ll try to document my design process through this blog.
Here are some important questions that I’ll need to answer:
What kind of game do you want to make?
What will be your major design concepts/mechanics?
How are you going to build it?
What are you doing for art?
What are you doing for sound?
These five questions I think are the beginning of a good place to start for a project. Now you may not have the answers to them from the get go, and heck they will probably change throughout the projects life cyle, but giving them some thought is a must.
Angle Jungle is an award winning educational puzzle game for fourth to sixth graders studying geometry. At the start of development our requirements were up in the air. Following discussions with our client we settled on the following objectives:
Introduce the notion of positive and negative angle values.
Introduce both anticlockwise and clockwise rotation, and angle addition and subtraction.
Expose students to angles greater than 180 degrees.
