Ken Levine (Thief, System Shock 2, Bioshock) and Amy Hennig (Legacy of Kain, Jak and Daxter, Uncharted) talk about game writing and creative directing:
Ken Levine (Thief, System Shock 2, Bioshock) and Amy Hennig (Legacy of Kain, Jak and Daxter, Uncharted) talk about game writing and creative directing:
I'm pretty sure opinions on game writing vary hugely from person to person. It's just the sort of topic that has a whole bunch of different facets that lots of people are going to feel stongly about. I mean, I'm pretty sure my opinions on the topic are really weird compared to others' as well.
I am not a game designer, though I have ideas for games. If I learned more game design, I could probably get closer to making them a reality, because then I could code up a prototype and start iterating. I get frustrated too quickly though, and need people to bounce ideas off and to give me art, because I lost motivation when I'm just looking at my dumb programmer art for weeks.
I lament the loss of punch rumble
We were on to something!
I'm still determined to make a side scrolling beat 'em up one of these days, I think there's a lot of novelty still in the genre that could be tapped.
I am not a game designer, though I have ideas for games. If I learned more game design, I could probably get closer to making them a reality, because then I could code up a prototype and start iterating. I get frustrated too quickly though, and need people to bounce ideas off and to give me art, because I lost motivation when I'm just looking at my dumb programmer art for weeks.
I lament the loss of punch rumble
We were on to something!
I'm still determined to make a side scrolling beat 'em up one of these days, I think there's a lot of novelty still in the genre that could be tapped.
Nice work, I didn't get to the point of putting in multiple levels and stuff like you have there - I started on the punching bits and that was about as far as we got:
haha my programmer buddy has decided he's going to make a game. This is basically the same story as when he was like 12 and up and decided he would learn to program. I feel like he won't be such a great learner this time, but i've told him i'd do sprite work for him.
so in like two years when he finally has something that resembles anything i have work
haha my programmer buddy has decided he's going to make a game. This is basically the same story as when he was like 12 and up and decided he would learn to program. I feel like he won't be such a great learner this time, but i've told him i'd do sprite work for him.
so in like two years when he finally has something that resembles anything i have work
Yeah, I know this feeling. It was all the rage back in the glory days of mods- especially ascended mods getting picked up by the likes of Valve- to put together a team based around The Illusive Idea Man's grand vision for "I don't know, something, it'll be cool"
Fortunately, I've also written things for people that are working on/actually made a game, so shouldn't complain!
I have a CS degree, but haven't used it for the past 6 years. Though a month or so ago I got a copy of Beginning Android Games, read it in a couple weeks, and then made this.
It's very small, and kind of doofy, but I'm pretty pleased with myself.
Next up I wanted to make a 2D jump and bump game with just a guy who runs around with a briefcase and bops things with it. But the art takes up lots of time, and I'm not sure how I should store level information. Does anyone know good resources for basic ideas on good practices for storing info like "where are the enemies, platforms, and misc objects in a level"? I can think of a few ways to do it, and with the processing power afforded even by a phone these days--it wouldn't be a problem. But what are good practices on these types of things--where do I learn that kind of info?
I've been typing away at an Inform 7 game, making mechanics from scratch so that you can go to various areas of a room and have the room description vary depending on where you are.
After a bunch of work on this, I've realised that I could actually do what I'm trying to do with minimal work just by using Regions as rooms and rooms as areas. :P
But hey, at least I'm getting better at typing stuff up in Inform 7.
I'll post the source code as soon as I clean out a few bugs that are currently stopping it from working at all. It's in kind of a proto state at the moment.
I'm almost embarassed to show this. It's very early days stuff.
"Mechanics test" by Emanuel Nordrum
Volume - Core
Book - Extentions
Include Version 9 of Plurality by Emily Short.
Book - Rules
Part - Proximity and bordering
Bordering relates various things to each other. The verb to border (he borders, she borders, they border) implies the bordering relation.
Proximity relates various thing to each other. The verb to proxy (he proxies, she proxied, they proxy) implies the proximity relation.
Spotting relates various things to each other. The verb to spot (he spots, she spotted, they spot) implies the spotting relation.
Part - Ambling
Ambling is an action applying to one visible thing. Understand "go to [something]", "walk to [something]", "run to [something]", "crawl to [something]" and "move to [something]" as ambling.
Check ambling:
if the noun is off-stage, say "You don't see that." instead;
if the noun is not visible, say "You don't see that." instead;
if the noun is not a thing, say "You need to go to something." instead;
if the noun is not a major thing, say "You're already next to it." instead;
if the noun proxies the player, say "You're already by [the noun]." instead.
Carry out ambling:
If the noun does not proxy the player:
Say "You go to [the noun].";
Repeat with unproxy running through things that proxy the player:
Now unproxy does not proxy the player;
Now the noun proxies the player;
Repeat with unsee running through things that spots the player:
Now unsee does not spot the player;
Repeat with see running through things that spot the noun:
Now see spots the player;
Repeat with see running through things that border the noun:
Now see spots the player.
Before entering:
If the noun does not proxy the player:
Repeat with unproxy running through things that proxy the player:
Now unproxy does not proxy the player;
Now the noun proxies the player.
Part - Major and minor items
A thing can be major or minor. A thing is usually minor.
Part - Locations
An entrance is a kind of thing.
Every turn when entering a room:
Repeat with unproxy running through things that proxy the player:
Now unproxy does not proxy the player;
Repeat with hi running through entrances in the room:
Now hi proxies the player.
Part - Looking
Before listing nondescript items:
Now every marked for listing thing is not marked for listing.
After looking:
Repeat with nextto running through things that proxy the player:
Say "[if the player is inside a thing][otherwise]You are standing next to [the nextto]. [end if][if the number of things that borders nextto is greater than 0][A list of things that border nextto] [is-are] here.[end if]";
Say "[if the number of visible major things that do not proxy the player is greater than 0][A list of visible major things that do not proxy the player] [is-are] nearby.[end if]"
Part - Names
A thing has a text called name. The name is usually "[The item described]".
Part - Disovering things
Revealing relates various things to each other. The verb to reveal (he reveals, they reveal, she revealed, it is revealed, he is revealing) implies the revealing relation.
A thing has a text called first impression. The first impression is usually "[An item described] catches your eye."
After examining a thing (called the target):
if the target proxies the player:
if the target reveals a thing (called the grabee):
if the grabee is off-stage:
say "[the first impression of the grabee]";
move the grabee to the location of the target;
now the grabee borders the target.
Book - The Game
Chapter - For testing purposes
When play begins:
Repeat with hi running through entrances in the room:
Now hi proxies the player.
Chapter - Test Room
Empty Room is a room with the description "[if the player proxies the bookshelf]A solitary bookshelf is propped up against the wall, with a lonely little table next to it[otherwise]A large couch dominates the room[end if]. Other than that you see [a list of visible major things that do not proxy the player]."
Section - Inventory
A couch is in Empty Room. It has the description "A comfortable couch." It reveals a penny. It is major. It is an entrance.
A penny is a thing with the description "Just a penny."
A pillow with the description "A pillow." is in Empty Room. It borders the couch.
A bookshelf is a major scenery in Empty Room with the description "It's filled with books."
A table is an open container in Empty Room with the description "A table." It borders a bookshelf.
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ButtlordFornicusLord of Bondage and PainRegistered Userregular
edited May 2012
someone make a better op for a king of the hill thread
this is a thread about designing things
Enter room
Visit major sets & reveal the objects in that set
Examine setpieces & discover clues & find thingymajigs
Use clues and thingymajigs to unlock new major sets and rooms
Go to new room
One room I have in mind a gambling hall, with the major sets being the individual tables and the thingymajigs being anything from a hand of cards to individual gamblers who you can talk to.
Right now the code just decides whether or not to list the item depending on where the player is. In the future, each setpiece will have it's own descriptions depending on where in the room the player is. Something like
When the player proxies table A, the description Table B is "Table B is far away". When the player proxies Table C, the description of Table B is "Table B is close by."
Etc. Keeping the number of major setpieces in any given room down to a reasonable size is going to be pretty darn crucial to my sanity when writing the actual game.
Also, minor things will have line of sight (the spotting relation, which currently does nada) to indicate whether it stays described to the player or not. A gambler who at Table A might be important to keep in mind when the player is somewhere else, so he'll have LOS and be added to the "name" of Table A when the player is at Table B, but a fork on the same table is less important and won't be.
I tried doing a measurement of distance (table A is near table B. Table A is far away from table C. Table B is close to table C, etc) but it got really complex really fast.
Oh, I see. That's a pretty major restructuring of Inform logic, but it looks decent so far. keep the thread updated, I'm interested to see how it develops. You might check out 17.27 and Aaron Reed's Making stuff with inform 7.
Creating Interactive Fiction With Inform 7 is a great book. I bought the Kindle version, and kind of regret it because it doesn't read as well as it would in hardcopy, but it's still been a huge stepping stone to figuring this stuff out.
Basically, I just really don't like the "go north", "go south" etc mechanic of IF. I want to structure it more like a point and click adventure in text form.
Also, if you put the code into IF7 again, I made some minor adjustments to the room description that'll hopefully give a better idea of what it'll look like once it's done.
Also, "in scope" may be exactly what I need. I tried taking things off stage and on stage but it was causing the game to crash whenever I tried going to that object (because I knew it was there even when it wasn't).
Orik i have done a very small amount
i was looking forward to this because it gives me an excuse to practice at it and get better
be able to make tilesets for DF almost as good as mayday one day
that'd be cool
Okay, perhaps not. I can't figure out how to remove something from scope.
The alternative here is to scrap what I'm doing and implement each major setpiece as a room, like I was talking about before, and using scope to be able to see things in that room. Example 353 actually does something similar. Then I could use the "move to room by name" example (which I know is here somewhere) and remove the cardinal directions to make movement the way I want it.
This would also implement the distance element, and I wouldn't have to write a million miles of rules from scratch.
I love that Inform 7 has so many different solutions to the same problem.
Don't get me wrong, I love my Kindle! I just think a text book like that, I'd like to have open next to my computer to flick through and reference different sections while I'm working - preferably full of stickynotes - and the Kindle isn't as nimble. Still a must-read for anyone working with Inform 7, though, regardless of format.
I'm pretty pleased with how the mechanics are coming along. There are still some issues - I need to block out the ability to interact with objects you're not next to - but honestly I think it's begining to look kind of presentable.
Code for those who want to have a look:
"Mechanics test" by Emanuel Nordrum
Volume - Rules
Book - Extentions
Include Version 9 of Plurality by Emily Short.
Book - Mechanics
Part - Reporting
After taking a thing:
Say "Taken."
Part - Proximity and bordering
Bordering relates various things to each other. The verb to border (he borders, she borders, they border) implies the bordering relation.
Proximity relates various thing to each other. The verb to proxy (he proxies, she proxied, they proxy) implies the proximity relation.
Spotting relates various things to each other. The verb to spot (he spots, she spotted, they spot) implies the spotting relation.
Part - Ambling
Ambling is an action applying to one visible thing. Understand "amble to [something]", "go to [something]", "walk to [something]", "run to [something]", "crawl to [something]" and "move to [something]" as ambling.
Check ambling:
if the noun is off-stage, say "You don't see that." instead;
if the noun is not visible, say "You don't see that." instead;
if the noun is not a thing, say "You need to go to something." instead;
if the noun is not a major thing, say "You're already next to it." instead;
if the noun proxies the player, say "You're already by [the noun]." instead;
if the player is on a thing, try exiting.
Carry out ambling:
If the noun does not proxy the player:
Say "You go to [the noun].";
Repeat with unproxy running through things that proxy the player:
Repeat with awaywithyou running through things that border unproxy:
Now awaywithyou is off-stage;
Now unproxy does not proxy the player;
Now the noun proxies the player;
Repeat with ollyollyoxenfree running through things that borders the noun:
Now ollyollyoxenfree is in the location of the noun.
Before entering:
If the noun does not proxy the player:
Repeat with unproxy running through things that proxy the player:
Now unproxy does not proxy the player;
Now the noun proxies the player.
Part - Major and minor items
A thing can be major or minor. A thing is usually minor.
Part - Locations
Every turn:
Repeat with unproxy running through things that proxy the player:
If unproxy is not in the location of the player:
Repeat with awaywithyou running through things that border unproxy:
Now awaywithyou is off-stage;
Now unproxy does not proxy the player.
Part - Looking and discovering things
Section - Looking
Before listing nondescript items:
Now every marked for listing thing is not marked for listing;
After looking:
Repeat with nextto running through things that proxy the player:
If the number of things that border nextto is greater than 0:
Say "[A list of things that border nextto] [is-are] here. ";
If the number of visible major things that do not proxy the player is greater than 0:
Say "You could walk to [a list of visible major things that do not proxy the player]. ";
[ Say "[paragraph break][A list of things in location] are interactable."]
Section - Disovering things
Revealing relates various things to each other. The verb to reveal (he reveals, they reveal, she revealed, it is revealed, he is revealing) implies the revealing relation.
A thing has a text called first impression. The first impression is usually "[An item described] catches your eye."
Looking-here is a truth state that varies. Looking-here is false.
Before examining a thing (called the target):
If the target proxies the player:
Now looking-here is true;
Otherwise:
Repeat with nextto running through things that proxy the player:
If nextto borders the target:
Now looking-here is true.
After examining a thing (called the target):
If looking-here is true:
If the target reveals a thing (called the discovery):
If the discovery is off-stage:
Say "[The first impression of the discovery]";
Move the discovery to the location of the target;
If the target is major:
Now the discovery borders the target;
Otherwise:
Repeat with owner running through things that border the target:
Now the discovery borders owner;
Now looking-here is false.
Part - Descriptions
A thing has a text called floral. The floral is usually "[the printed name of the item described]".
Florid is a truth state that varies. Florid is false.
To say florid style: now florid is true.
To say prosaic style: now florid is false.
Rule for printing the name of something (called item) when florid is true: say the floral of the item.
A thing has a text called ambiance. The ambiance is usually "You're standing next to [the printed name of the item described]."
Part - Interacting with objects
Section - Picking things up and putting them down
After taking something (called the penny):
if the penny borders something (called the couch):
now the penny does not border the couch.
After dropping something (called the penny):
repeat with bookshelf running through things that proxy the player:
now the penny borders bookshelf.
Section - Sitting etc
[ ADD STUFF HERE. ]
Book - The Game
Part - Test Room
EmptyRoom is a room with the description "[if the player proxies the bookshelf][the ambiance of the bookshelf][otherwise if the player proxies the couch][the ambiance of the couch][otherwise if the player proxies the portrait][the ambiance of the portrait][otherwise]You're in a small room, barren except for[end if] [florid style][a list of visible major things that do not proxy the player][prosaic style][if the player proxies a thing][otherwise][end if]. To the north is another silly little room."
Chapter - Major
Section - Bookshelf
A bookshelf is a major scenery in EmptyRoom with the description "[if the player proxies the bookshelf][one of]You trace your finger along the books in the shelf, removing a thick coat of dust. Suddenly, you stop. There it is. And it's as beautiful as you ever could have imagined.[or]None of the books interest you much.[stopping][otherwise]It's filled with books. Perhaps you should have a closer look." It has the floral "bookshelf propped up against [if the player proxies the portrait]the opposite[otherwise]a[end if] wall".
The ambiance of the bookshelf is "You're standing by a bookshelf filled with curious and unknowable books. A lonely little table stands next to it, holding nothing. Tearing your eyes away from this sad little reflection of the human condition, you can't help but fixate on".
Understand "books", "book" and "shelf" as the bookshelf.
The bookshelf reveals The Autobiography of Marilyn Monroe.
Section - Couch
A couch is a fixed in place enterable supporter in EmptyRoom. It has the description "[if the player does not proxy the couch]Nearby, a humungous couch dominates the surroundings. [end if]It looks like a very comfortable couch indeed." It is major.
The couch has the floral "couch dominating the centre of the room".
The ambiance of the couch is "You're [if the player is on the couch]sitting on[otherwise]standing by[end if] the largest couch you've ever laid eyes on. A single pillow lies discarded in the middle. Looking up, you see".
Section - Portrait
A portrait is in EmptyRoom. It has the description "A framed portrait of Engelbert Humperdinck.[if the player does not proxy the portrait] You'd have to get closer to make out any details[otherwise] [one of]You notice the Norman Rockwell signature in the corner and marvel at the sheer authenticity that shines through. Is that a single tear shed for the lost American dream you see in the corner of his majestic eyes? You shake your head in amazement. It may very well be[or]It's amazing[stopping][end if]." It is major.
The portrait has the floral "framed portrait of Engelbert Humperdinck[if the player proxies the bookshelf] staring forlornley at you from[otherwise] hanging forlornley on[end if] the far wall".
The ambiance of the portrait is "You're standing by the lovingly crafted painting of Engelbert Humperdinck. He seems to be looking at the other two fixtures of the room -".
Understand "painting", "picture", "Engelbert", "Humperdinck" and "Engelbret" as the portrait.
Chapter - Minor
A penny is a thing with the description "Penny for your thoughts." It has the first impression "You push the pillow to one side to reveal a genuine 1982 penny. Wow. What were the odds?"
A pillow is a thing with the description "A nicely stitched pillow. It brings out your eyes." It borders the couch. It reveals a penny.
The Autobiography of Marilyn Monroe has the description "She was the nation's sweetheart. Fare thee well, Marilyn." It has the first impression "It's the autobiography of Marilyn Monroe." Understand "book" as The Autobiography of Marilyn Monroe. Does the player mean doing something with The Autobiography of Marilyn Monroe: It is likely.
A table is a supporter with the description "A table." It borders a bookshelf.
Part - Test Room 2
Holding is north of EmptyRoom with the description "You thought the other room was barren? This room is really barren. Completely empty, in fact! A better room lies to the south."
I found some old level design sketches for my Left 4 Dead campaign, the one Gabe flew to Australia about, if anyone's interested in taking a look. herearesomelinks
Also I just put up a quick post on my blorg that has a bunch of concept art, and some words on how I came to know the artist, etc.
I am not a game designer, though I have ideas for games. If I learned more game design, I could probably get closer to making them a reality, because then I could code up a prototype and start iterating. I get frustrated too quickly though, and need people to bounce ideas off and to give me art, because I lost motivation when I'm just looking at my dumb programmer art for weeks.
I lament the loss of punch rumble
We were on to something!
I'm still determined to make a side scrolling beat 'em up one of these days, I think there's a lot of novelty still in the genre that could be tapped.
Nice work, I didn't get to the point of putting in multiple levels and stuff like you have there - I started on the punching bits and that was about as far as we got:
Yeah, I first started just getting the player and enemies moving around http://www.youtube.com/watch?v=GwaTQ_2mlow&feature=plcp
I didn't work on the enemy AI because the level format was super basic. So I started adding things in just to learn about them. I added in LUA scripting to handle the game logic, then I decided to learn 3D graphics and draw the levels with DirectX(then I switched to openGL because that is way easier to understand). Now I have to build graphs for the enemy AI to navigate around the level, but when I get that working I'll have enemies that can chase players around obstacles.
There are three inspirations for this game
Scott Pilgrim
Left 4 Dead
Starcraft
The Scott Pilgrim game made me go "I want to make a better beat 'em up". The effect of leveling your stats is unclear and adding a new player starting at level 1 was a burden.
Left 4 Dead gave me the idea of an ~hour long multiplayer game without any sort of persistence. Break it up into episodes where the equipment/stats do not carry over.
Starcraft's tech tree is the inspiration for how I want the leveling system to work. Starcraft mid-game can branch wildly, where even the same races are through very different units at each other.
(Though I suppose Deus Ex 3 might be a better example of the kind of ability tree I want to have)
Within an hour of playing, all players will be able to reach the top tier of abilities. Rapid character growth and an expanding choice of abilities should help keep things interesting to replay.
Do you want to add the dragon kick to your arsenal so you can quickly close horizontal distance? If not, you could go for the air juggle, giving yourself more air time. Dragon Kick? Ok, well do you want to drill through the enemy for multiple hits, or bounce off for more air time and options? Forget getting a new move, how about doubling your attack or speed?
That's easy to type though. I've got a rough outline of the level tree but I can already see problems with it, and I have to make sure the levels can be beaten with any group of abilities. Can't have everyone pick ice powers and then they can't hurt the ice mammoth.
Yeah but I think I'm just putting off writing the actual story.
It's weird, because that's the bit I thought I'd enjoy most, but I've had a few sleepless nights thinking about mechanics and not a single one about the story.
But I mean, even though I have the main structural components are done, actually writing the story will uncover new problems I need to implement mechanics for, so it's win/win. It's just the next step of the process.
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PwnanObrienHe's right, life sucks.Registered Userregular
edited May 2012
So the group of former classmates I'm currently working with has set a deadline of 8 weeks. This thing is falling apart like a Chinese motorcycle. Note to self: if the lead ever puts her roommate in charge of level design, bail.
Also, freelance? More like "do two jobs then the client tries to pay you the rate for when you did one job"-lance M I RITE?!?!
Posts
I actually think it's a neat idea
what iphone game are you ripping off this time?
thanks for this, although the amount of nasal in this soundfile makes me grit my teeth a bit
@t4ct you should! design docs are great practice
talk to me when your podcast is on iTunes
ummm
have at it?
this is a really decent listen. i don't agree with most of it but i value any opportunity to hear people talk about their job
I am also working on my own beat em up from scratch.
Nice work, I didn't get to the point of putting in multiple levels and stuff like you have there - I started on the punching bits and that was about as far as we got:
make it
i don't know farts from poops about design
so in like two years when he finally has something that resembles anything i have work
Yeah, I know this feeling. It was all the rage back in the glory days of mods- especially ascended mods getting picked up by the likes of Valve- to put together a team based around The Illusive Idea Man's grand vision for "I don't know, something, it'll be cool"
Fortunately, I've also written things for people that are working on/actually made a game, so shouldn't complain!
It's very small, and kind of doofy, but I'm pretty pleased with myself.
Next up I wanted to make a 2D jump and bump game with just a guy who runs around with a briefcase and bops things with it. But the art takes up lots of time, and I'm not sure how I should store level information. Does anyone know good resources for basic ideas on good practices for storing info like "where are the enemies, platforms, and misc objects in a level"? I can think of a few ways to do it, and with the processing power afforded even by a phone these days--it wouldn't be a problem. But what are good practices on these types of things--where do I learn that kind of info?
After a bunch of work on this, I've realised that I could actually do what I'm trying to do with minimal work just by using Regions as rooms and rooms as areas. :P
But hey, at least I'm getting better at typing stuff up in Inform 7.
I'll post the source code as soon as I clean out a few bugs that are currently stopping it from working at all. It's in kind of a proto state at the moment.
I'm almost embarassed to show this. It's very early days stuff.
this is a thread about designing things
design it
or @bogey is gonna kick your ass
Enter room
Visit major sets & reveal the objects in that set
Examine setpieces & discover clues & find thingymajigs
Use clues and thingymajigs to unlock new major sets and rooms
Go to new room
One room I have in mind a gambling hall, with the major sets being the individual tables and the thingymajigs being anything from a hand of cards to individual gamblers who you can talk to.
Right now the code just decides whether or not to list the item depending on where the player is. In the future, each setpiece will have it's own descriptions depending on where in the room the player is. Something like
Etc. Keeping the number of major setpieces in any given room down to a reasonable size is going to be pretty darn crucial to my sanity when writing the actual game.
Also, minor things will have line of sight (the spotting relation, which currently does nada) to indicate whether it stays described to the player or not. A gambler who at Table A might be important to keep in mind when the player is somewhere else, so he'll have LOS and be added to the "name" of Table A when the player is at Table B, but a fork on the same table is less important and won't be.
I tried doing a measurement of distance (table A is near table B. Table A is far away from table C. Table B is close to table C, etc) but it got really complex really fast.
Basically, I just really don't like the "go north", "go south" etc mechanic of IF. I want to structure it more like a point and click adventure in text form.
Also, if you put the code into IF7 again, I made some minor adjustments to the room description that'll hopefully give a better idea of what it'll look like once it's done.
Thanks!
i was looking forward to this because it gives me an excuse to practice at it and get better
be able to make tilesets for DF almost as good as mayday one day
that'd be cool
The alternative here is to scrap what I'm doing and implement each major setpiece as a room, like I was talking about before, and using scope to be able to see things in that room. Example 353 actually does something similar. Then I could use the "move to room by name" example (which I know is here somewhere) and remove the cardinal directions to make movement the way I want it.
This would also implement the distance element, and I wouldn't have to write a million miles of rules from scratch.
I love that Inform 7 has so many different solutions to the same problem.
in related news, i had a brainstorm on the walk home and now i'm disappearing into the unity mines for a few months probably
I'm pretty pleased with how the mechanics are coming along. There are still some issues - I need to block out the ability to interact with objects you're not next to - but honestly I think it's begining to look kind of presentable.
Code for those who want to have a look:
Also I just put up a quick post on my blorg that has a bunch of concept art, and some words on how I came to know the artist, etc.
Yeah, I first started just getting the player and enemies moving around
I didn't work on the enemy AI because the level format was super basic. So I started adding things in just to learn about them. I added in LUA scripting to handle the game logic, then I decided to learn 3D graphics and draw the levels with DirectX(then I switched to openGL because that is way easier to understand). Now I have to build graphs for the enemy AI to navigate around the level, but when I get that working I'll have enemies that can chase players around obstacles.
There are three inspirations for this game
Scott Pilgrim
Left 4 Dead
Starcraft
The Scott Pilgrim game made me go "I want to make a better beat 'em up". The effect of leveling your stats is unclear and adding a new player starting at level 1 was a burden.
Left 4 Dead gave me the idea of an ~hour long multiplayer game without any sort of persistence. Break it up into episodes where the equipment/stats do not carry over.
Starcraft's tech tree is the inspiration for how I want the leveling system to work. Starcraft mid-game can branch wildly, where even the same races are through very different units at each other.
(Though I suppose Deus Ex 3 might be a better example of the kind of ability tree I want to have)
Within an hour of playing, all players will be able to reach the top tier of abilities. Rapid character growth and an expanding choice of abilities should help keep things interesting to replay.
Do you want to add the dragon kick to your arsenal so you can quickly close horizontal distance? If not, you could go for the air juggle, giving yourself more air time. Dragon Kick? Ok, well do you want to drill through the enemy for multiple hits, or bounce off for more air time and options? Forget getting a new move, how about doubling your attack or speed?
That's easy to type though. I've got a rough outline of the level tree but I can already see problems with it, and I have to make sure the levels can be beaten with any group of abilities. Can't have everyone pick ice powers and then they can't hurt the ice mammoth.
...
I kinda want to just keep fiddling with the mechanics.
nothing wrong with fiddling with it, refining gameplay isn't bad.
It's weird, because that's the bit I thought I'd enjoy most, but I've had a few sleepless nights thinking about mechanics and not a single one about the story.
But I mean, even though I have the main structural components are done, actually writing the story will uncover new problems I need to implement mechanics for, so it's win/win. It's just the next step of the process.
Also, freelance? More like "do two jobs then the client tries to pay you the rate for when you did one job"-lance M I RITE?!?!