Archives for posts with tag: devblog

First thing’s first, I know I missed the January devblog. I’m sorry it wont happen again. But… it’s here now, and it’s a new year, which means this is the first devblog for 2019! This is going to be a big year for Kana Quest as this is the year we are going to release! Knowing the end is in sight is a strange feeling as I’ve been working on Kana Quest for the last two years of my life. But I hope you all will be there with me as we run headlong down this final stretch!

So what does this “final stretch” look like in terms of development? Well for me personally that means making all the levels. I had spent most of 2018 finishing the art and making all the visual assets, but in terms of gameplay, very little was being made. But now that I’ve finished all the visual assets and Reuben my programmer has finished programming in each mechanic, I am able to churn out levels very quickly. How quickly is that? Well since last month’s devblog, world 5, 6, and 7 now have all their levels made. Of course these levels still need play testing before they are 100% good to go, but they are playable, and reasonably balanced.

So, seeing as levels are all I have been doing this past month, I’m gonna tell you how I have been making them. And some of the weird things I have to pay attention to when I’m making levels.

The first thing I do when I start making a level is I figure out, how hard I want this level to be, and what kana I want the player to see.

flowchannel

Sorry if this is a bit too game design 101 here buuut… This is the flow channel. Flow is that feeling where you are in the zone. But getting the player into the zone requires very careful balance from the game designer. So something I’m sure you will notice when you play Kana Quest is that every three to five levels will build in difficulty, only to drop back a bit and then continue ramping up in difficulty.  The reason you do this, is that it’s just more fun for the player.

In Kana Quest there are a few different ways you can control the difficulty of any given level. They are:

  • The amount of Kana in a level
  • Size of the level.
  • Potential board state permutations
  • Number of potential solutions
  • Complexity of solution.

So lets go through each of them. And first up is the amount of Kana. So in my experience, you have a hard cap of about 14 -16 different Kana in a level. Why is this? This is because past this number, there is too much information for the player to comprehend. And personally, even I can’t process levels with this many Kana. It’s also a difficulty that isn’t a lot of fun for the player. Solving the puzzles is fun, recognising kana… not so much.

The size of the level like the amount of kana, also has a hard cap. This time its not so much about overwhelming the player though. The largest you can make a level in Kana Quest is 7×4. This is simply because if you make the level any bigger, it will not fit on the screen. I know that sounds silly, but due to the way pixel art works, there is no easy way to just “zoom out” without also causing a lot of pixels to bunch and stretch. But honestly, most of the time this is plenty to work with. If you are smart about how you construct things this is not actually as bigger constraint as one might think it is.

What I mean by “potential board state permutations” is how many possible unique configurations can be made in any given level. So for example.

These two levels have the same kana, and the same starting positions but the first level is significantly easier than the second because the number of possible configurations of kana has been significantly reduced. Forgive me if my maths is wrong but the level on the left has only 120 unique board positions, whereas the level on the right has 362880 unique board positions. And while an advanced player can see through all the unnecessary information in the second level, it doesn’t actually make the puzzle any more fun for the advanced player because in both scenarios, the solution only requires two moves. So while you are giving advanced players a disappointing level, you are giving new players a level that is so information dense they will almost always solve the level by brute forcing the solution. What I’m trying to convey here is that when designing puzzles you need to control the amount of possible states so that you can guide the player to the solution. Now for more advanced levels its fine to offer levels that are more open ended, but you do need to be very sparing with how you do so.

Next up is the number of potential solutions. This category is a tricky one as personally I feel as though levels with multiple solutions make the level harder, not easier. Why you might ask? Well because it means that your players are less guided towards the optimal solution. It means they are more likely to get caught on unintentional red herrings. It also means that if the player wants to get a gold medal for a level, but they have only ever completed the level using an alternate solution that is more move intensive than the planned solution, they could spend way too long trying variations on the “wrong” solution. Really this is a side effect of having too many potential board state permutations, but every now and again its fun to have levels that offer multiple answers. Lots of levels in Kana Quest only have one solution, and lots of levels have multiple, the important thing is using this technique intentionally.

The final technique that I can use to control the difficulty for the player is probably the most important one. And that is complexity of solution. If the solution only requires two or three moves, its not a particularly complex solution. This usually means that the level isn’t super difficult. However, completion critical moves increase the complexity. A completion critical move is a move that if not made, the level cannot be completed.  Of coarse this can then be balanced with previous techniques. For example.example3

This is a level from world 1. And is in my opinion one of the best levels in that world. This has a very low complexity of solution, but in contrast to the all the levels before it, it has a slightly higher difficulty. But that difficulty comes from a larger number of potential configurations, multiple solutions, and a larger level size. The result is a level that isn’t too difficult, but does force the player to stop and think about the solution. But as the game ramps up in difficulty, ramping up the complexity of the solution is usually the safest way of doing so. Why is that? Well, it means you can control the amount of information you throw at the player to a far greater extent. Remember, you don’t want to overload the player with information, if they do they just start brute forcing the puzzles and have a bad time.  So an example of a good level made by giving the player a complex solution is this level.examplesolution

The reason this level is good is because it requires a good amount of moves to complete, and there are only two completion critical moves required (using the Slime Kana on the correct Kana), and those moves can be executed by the player at any point. Whereas, here is a level that has gone way too far on the complexity of solution.example3

This level is way too hard and is to date the most difficult level I have made. And the reason is, that every singe move in this level is a completion critical move that requires being done in the exact right order. If you make one wrong move, you cannot complete this level. The fact that this level has a relatively constrained number of possible configurations is its only saving grace. And I wouldn’t be surprised if I remove, or rework this level before the launch of the game.

I think the real take away from this blog if you are making, or thinking of making your own game is; What are the different vectors for making a game difficult? Are there enough? Are there too many? What are the implications of using one of those vectors? What are the implications of using multiple of those vectors at once? How far can one push any and all of those vectors before a game becomes impossible? And most importantly, at any point in a game, what vectors of difficulty does the situation call for?

Anyway, these are the things that I’ve been thinking about for the last month or so. I’ll see you next month. If you have any questions about game difficulty or you disagree and you want to start a discussion, feel free to leave me a comment and we can have a chat. Until next month, take care.

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Hi all and welcome back to the Kana Quest devblog!

This last month was a busy month for Kana Quest development because for the first time, we’ve had to deliver to an “official” deadline. There have been unofficial deadlines before, like PAX and AVCon last year, but those deadlines were a bit fuzzier. They were more “make sure your game is in a presentable state by this time” sort of a deal. This deadline was much more concrete.

So what was this deadline? Well as a part of receiving funding from Film Victoria I have to complete milestone reports to prove to them that their money is being well spent and that I am on track to completion. For this milestone I said I would have the game’s art complete, and the game’s mechanics complete. And… we got there. All that remains at this point in time is bug fixing, level design, tutorials and balancing. That’s actually still quite a lot of things but lets not focus on that. Let’s focus on fun stuff. Like the full list of all the different kinds of Kana in the game!

STONE KANA: These poor kana have been turned to stone, and thus cannot move.

CtStoneHa

 

MYSTERY KANA: Look at these shifty looking Kana. They’re hiding something… Oh wait they’re hiding their true face! Pay attention to what they do and do not match with to discover their true identity.

mystery

 

ONE DIRECTION KANA: These Kana can only be moved in one direction. They have a big arrow on their head showing which way that is.

OneD

 

ICE KANA: These Kana have been encased in super slippery ice. They will keep moving until they can’t. Getting them to go where you want can be challenging.

IceDemo

 

GHOST KANA: These kana have lingering regrets. Mostly not wanting to pass onto the other side. But that’s no problem, you can bring them back to life if there’s enough friendship to go around. Make a chain of Kana the length of the number on a Ghost Kana’s head and they’ll come back!

GhostKana.gif

 

SLIME KANA: These gooey Kana don’t like to make friends. But they do like helping other Kana! Attach one of these Kana to any other to change their vowel sound!

SlimeKana

PARALYSIS KANA: These Kana are sick! You can move them once before they turn to stone!

Paralysis

 

BLUE SLIME KANA: These Slime Kana are a bit picky in which Kana they help. They will only help Kana with an “i” sound. But once they are attached the affected Kana will have two different vowels to match with other Kana. This mimics how the “y” sounding letters in Japanese attach to “i” ending kana to create blended sounds.

Eg. (yo) よ + (ki) き = (kyo)きょ (as in Tokyo)

YaSlimeKana

 

SHAPE-SHIFTER KANA: These Kana can become anything! Whatever you need them to be, they can be it!

Transform

 

EVIL SLIME KANA: These Slime Kana nice like the others. They are angry and will stop you from completing a level unless they are attached to another Kana. But they make it harder for you to match with other Kana. This mimics the tenten and maru symbols in Japanese. You attach these symbols to letters to change the consonant. E.g. a (ta) た becomes a だ when you attach those two dots called tenten to it.

MaruKana

 

JERK KANA: This kana is called “n”. “n” for “n”obody likes them, because they are a jerk. They’re mean, they call the other kana names. They are so unpleasant that other kana cannot be happy if there is one near them. Fortunately there is a way to get rid of them. Move a jerk kana into this little portal thing and they will GO AWAY. Where do they go? Don’t worry about it.

 

And that is all the Kana! Its been a long road getting all of these in the game, and I can’t wait for you to figure out all the puzzles they are going to make.

Anyway, I’ll see you in the new year! Have a happy and safe holiday season, and from me and the Kana “明けましておめでとう” (Happy new year in Japanese)trailerWIP2

 

Hi all, welcome back to the Kana Quest Devblog!

A whole lotta stuff has been happening for Kana Quest this month so lets get to it!

Firstly is THE NEWS. There is only one really big piece of news and it came at the end of Melbourne International Games Week last month. Now I had known about this for a while, but I am now officially allowed to talk about it. Kana Quest was successful in receiving Film Victoria Funding in the most recent funding round! I’m really proud of myself for getting this funding, there were a lot of awesome games asking for funding in this round and I was one of the lucky ones to get through.

Here’s a link to the official announcement: http://gamesweek.melbourne/film-victoria-games-investment-greenlights-14-new-projects/

But enough tooting my own horn, onto the new stuff! And as of this month, I can say that Kana Quest’s background art is now 100% complete. Last month there were two more worlds needing to be completed. Well, they’re done now!

world12Complete.gif

So this is world 12 in the game, showing off the parallax effect. So the idea behind the last three worlds was a three part story of a Kaiju (Godzilla type monster) coming to Japan, getting into a fight with a big Mech, and then the aftermath. World 12 is the the fight with the Mech. A couple of small details with this piece. The buildings in the background are the same buildings that appear in World 9 which were based of the main street in Akihabara. These buildings though were scaled down, had their colour changed and had a bunch of bits torn out of them to show the impact the fight was having on them. Also the Mech has a カ on its chest with is the Katakana for “ka” and the Kanji for power (Chikara). I was also going to give the Mech and the Kaiju simple idle animations, but the animation for them and nothing else looked weird. I also chose this colour pallet to make this world feel dangerous and scary. A lot of villains from TV shows have a purple and green colour pallet so I decided to lean into that. Also this world is the first time I’ve used outlines in Kana Quest’s backgrounds. Choosing if you are going to outline in pixel art is one of the biggest stylistic choices you can make, and I decided pretty early on that I wouldn’t use them for the majority of the backgrounds. But As I wanted to draw attention to the Mech and the Kaiju in this world I broke my usual rule.

world13ProcessGif.gif

world13wipBorderOff.png

And here we have, THE FINAL WORLD. So the conclusion to the three world “story arc” is that the Mech has defeated the Kaiju and stands victorious looking to the sun. But in the foreground we see the destruction that the fight has caused. A couple of notes, this scene was definitely inspired by FLCL and the scene where Haruhara Haruko leaves at the end of the series. It had everything I wanted from the final world, it had dramatic imagery and it was used to close one of my personal favourite shows (don’t watch the second season though, its awful).  I also decided to change the sky for this world. Every previous world has had a gradient for their sky. And that gradient was achieved with dithering so I could keep my colour count low. But for this final world I went with a flat off white with a bright red sun in the middle of it so that it would look extra unsettling next to the other worlds, but also to mimic the Japanese flag. I also talked briefly about how I have generally avoided outlines in the backgrounds. In this world I deliberately broke that rule to further hammer home that this world is not like the others. The final little detail that I put in here is the dog at the front. He is my actual real life dog. He always looks very dramatic so I thought he would fit right at home in this world.

Next up is how the game is progressing in terms of Mechanics. And I can say, now that Reuben has been working on the game for a month, very very well! Since coming on board he has cleaned up a bunch of code behind the scenes, added in FIVE mechanics into the game. This brings us up to 9 out 13 mechanics in the space of a month! And now that the world art is done I have even started making art for some of these mechanics.

GhostKanaDemo

This is a Ghost Kana. Ghost Kana, cannot move or match with other Kana. Also you might have noticed, they don’t have a Hiragana/Katakana on their head. This is because once you make a group of Kana with a size equal to a Ghost Kana’s number, they will come back to life as a normal Kana. This is got some great play to it especially when you add in some of the other mechanics. Once all the levels for this mechanic’s world are done I’ll do a break down of this mechanic on how it can be used and how much depth it adds to the game.

So anyway, that’s basically all I have for this month. If you have any questions, please don’t hesitate to ask. Until next time, take care of yourselves and have a good month!

 

 

 

Hi all, I’m Theo, the lead designer of Kana Quest. I’d like to introduce/reintroduce you to the Kana Quest DevBlog.

Why do I say “introduce/reintroduce”? Well the answer is this is the first Devblog I’ve done for Kana Quest in a while. And Secondly this will be the first Devblog that I will be sending it to everyone who has signed up to the Kana Quest mailing list. Which is something I am going to be doing from now on. And because I am going to be sending these blogs out on the mailing list, I am going to be making a few changes. Mostly being that I am not going to be posting these weekly like I used to. I don’t want to spam the inbox’s of people, and doing one a week was too much for me. So from now on, there will be a new Kana Quest devblog on the second Saturday of each month.

So for those who are new here, what can you expect in these devblogs? You can expect updates on how the game is coming along. Bits of news, interesting things that I’ve learned from making this thing, new features, and my general process.

So I’d like to start with the news. Lets get the bad news done with first, unfortunately Kana Quest will not be exhibiting at PAX Aus this year. Which to be honest is really bumming me out. What happened was that I was waiting for an inflow of cash before I booked a booth this year. And by the time the money came in, all the spots had been taken. If any of you were looking forward to playing the game there, I’m so sorry to have let you down.

But with the bad must come the good! And the good is that Kana Quest is no longer a solo project! I have my team member to come onto the project and I couldn’t be happier. As of this week the wonderful Reuben Covington is now the lead programmer for Kana Quest.

IMG_0277

Here’s Reuben helping me set up for AVCon (Anime Vid Con in Adelaide) earlier this year.

Reuben is an incredibly talented designer and programmer whospecialises in Collectable Card Game designs (and is also currently working on Infinity Heroes which you can check out here –> https://www.kickstarter.com/projects/elphie/infinity-heroes-competitive-card-game-for-mobile-p ). The reason why I think was my choice was because he has an incredible knack for bottom up design work. This is the sort of design that starts with a mechanic and iterates onto it to create great gameplay for the player. Whereas I am a Top Down designer. I start with a desired end goal and create mechanics to achieve the desired end goal (e.g. Wanting a puzzle game that teaches Hiragana/Katakana without any rote learning or pop quizzes). Both of these approaches I believe are super important, but they both have their drawbacks and strengths. Because of this, I am certain Kana Quest will be a better game with Reuben’s input. And hopefully, with his help, Kana Quest will hopefully be finished far sooner than later.

Speaking of Kana Quest being finished, when is that going to be? Well I know at PAX Aus last year I said that it would be in 2018. Sorry that’s not going to happen. But I wasn’t far off. The plan is to essentially finish the game in the first quarter of 2019. And now with Reuben’s help, I’m more than confident we can bring the game to you then!

What makes me so sure I hear you ask? Well for one thing, in terms of art assets, the game is a little over 80% complete! And for me, the most time consuming art assets to produce are by far the world art that go behind the puzzles. As of this week I have finished 11 out of 13. At my current estimates I am planning to have finished all the art by the end of October, or by early November at the latest. Speaking of art, here’s the world art for worlds 8-11.

World8pogoCat.gif

This one, was inspired by John Brack’s Collins St, 5pm. And you know… rush hour in Japanese train stations.

World8-9Transition.gif

Oh and this one is of the main street in Akihabara (The nerd capital in Japan). Along with some not so subtle Vaporwave jokes.

world10.gif

This one I mostly wanted to capture the feel of how lights reflect at night in big Japanese cities.

world11.gif

And this one is the obligatory reference to Hokusai. Fun fact, all games set in Japan by law legally have to include some reference to the Great Wave. *previously stated “fun fact” is in fact a fabrication*

I’m really proud of all the art that I’ve made for Kana Quest so far and I feel like I’ve come a LONG way as a pixel artist since I started. And I can’t wait to show you all the last two worlds. I am going all out for them.

But speaking of my pixel art coming along a long way since I started. For some of you who might have seen Kana Quest at PAX last year you might not have seen that I have changed the logo. Why is this? To those of you who’ve seen the game at an event this year, this will be the same logo that you’re used to. And if that’s the case, no I’m not going to upload the old logo because I don’t like it, and I like this new one much more.

KanaQuestLogoGifBorder

See, isn’t it pretty? I know I should be humble, but this logo was a lot of work and revision and I’m still kinda amazed I made something this cool.

This basically all I wanted to share with you all today. If you have a question about anything to do with the development of Kana Quest, please feel free to ask about it. I’d love to answer your questions. If you’d like to see more regular updates, you can follow the development on these social media channels:

Until next time, take care and have a wonderful day.

 

Hi all! Welcome to the DevBlog for Kana Quest, where I document what I’ve been working for the week, and what I’ve learned along the way.

This week I did something I’ve never really had to do for Kana Quest before, and that is draw people in pixel art using very limited amounts of pixels. So this week we will go through the things I made and what the process for doing so was.

But firstly let me give you some context on what I’m making this for. So each world in Kana Quest has its own unique layered background art that repeats so that I can make use of parallaxing. I’m currently working on world 8 which is a homage to John Brack’s 5pm Collins St.

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You can see in the original there are two rows of people. I’ve finished the first one, and am up to the second. And this is where this weeks topic comes in. See the people in the second row are going to be much smaller than the ones on the foreground and thus I have way less pixels to work with.

 Each of these people range from 21-39 pixels wide and 61 – 88 pixels tall. In other words they are all way smaller than any of the people at the front. Quick heads up, I’m not going to go over how I arrived at my pallet for these people. I’m going to focus on the drawing aspect for this week.

So where did I start with these? Well I started each with an idea of what the person should look like at the end. I know this sounds silly but just having an idea of what you want them to look like will help. I also made a conscious effort to make sure they would all look different from each other. But once I had an idea of what I wanted I would start with the head.

w8PersonHead

I wouldn’t go for anything super detailed, just a roughly head shaped blob. Then I would figure out what shape the head should be using what I was planning and using reference photos. Always use reference photos, if you are anything like me and have the imagination of a gold fish they will be your best friend. For this blog we are going make a caricature that you will probably recognise from sailor moon: the nerdy schoolboy with massive glasses.

neeeeeerd

Gurio Umino from Sailor Moon

For this character, I figured he would have a pretty large and round head. Which also helped create room for his big glasses. I also gave him a bowl cut to make his head even more ball like. Something that I noticed very quickly making these characters is when you have this few pixels shape is really important. You have to express as much as you can from the rough shape of things. This is why I chose glasses boy here as the example for this blog.

w8PersonHead

Once I had the rough shapes blocked out (the face, hair and glasses) it was just a matter of shading everything to give him depth. Now I am not using hard outlines for these people. You are free to do that for your own pixel art if you like, I’m opting not to because it is not in style for Kana Quest. Another thing to pay attention to while shading is to use your shading to imply shape and texture. For example on the glasses I use shading to show how thick and bulky they are. I also use skin shading to show the curvature of his face.

But of course this is just the face. As I said before, for each of these characters I started with the head and worked my way down. The reason I did this is because by starting with the face I can get a good sense of what sort of personality I want to depict. In the case of this one, I wanted him to be pretty stiff and awkward looking. I also wanted him in the classic Japanese School uniform winter blazer. So what I did is I created a basic shape of his body; in this case a rigid rectangle. Then I placed where the hands and feet would go. It’s always easier to place where you want the hands and feet to be and work back towards the body than the other way round. In this instance the hands and feet were just straight next to his body, so it would have been pretty simple either way. Then I drew in the outline of his blazer and finished with shading. Once again keeping in mind that we need to use shading to help the viewer infer what the shape of everything is.

w8PersonBody

And there we have it! A finished person. Now if you excuse me I have another five of these things to make before I can finish making this world.

Anyway I hope you’ve enjoyed this week’s devblog. I unfortunately wont be uploading a devblog next week as I will be exhibiting Kana Quest at this year’s Animaga in Melbourne. If you are coming, please come find me at in the indie game section, say hello and give the game a shot! But until next time, take care and have a great week!

Hiya, welcome back to the Kana Quest Devblog. And this week we are looking at what went down at this year’s AVCon.

I went to AVCon last year, and it was the first event I ever took Kana Quest to. And I had an amazing time. If you have a game that you’ve been working on, and you want to show it off I cannot recommend AVCon enough. It’s a friendly crowd, its in a great venue, Adelaide is a lovely place and what’s more the barrier to entry is exceptionally low. Most events cost money to attend, but not AVCon. They do have a right of refusal, but they don’t mind if your game is a bit rough around the edges. Both times I have gone, I’ve seen student games as well as game jam games being exhibited. So, if you are in Australia, and can afford tickets to Adelaide, along with accommodation, do not overlook AVCon.

So this year I went with my mate Reuben. He helped me exhibit at PAXAus last year and is doing some contract programming work for me for Kana Quest. We both met up at Melbourne Airport for our flight on Wednesday. One small piece of advice is to get to these events early. You do not want to arrive on the day of set up and run to the event hall. Because we left on Wednesday, we had all of Thursday to patch bugs and double check everything was running smoothly. Another advantage getting there early is that we had time on Friday to buy supplies for the booth. If you are EVER running a booth at an event like this, here are some things you should have.

  • Hand Sanitizer
  • Water (a lot of it)
  • Snacks
  • Decorations for your booth.
  • Strepsils / Some other throat lolly
  • Anything that brings you joy in dark times.

You will be surprised how much talking you will do during these things, if you don’t have ample water, and strepsils you are going to lose your voice. You are also going to burn through your energy reserves very quickly so make sure you have snacks to keep you going. This year there was a printing error in the booklet that said the indie game section would be open until 7 and not 6. Reuben and I had all these provisions, and yet we looked like this at the end of day 1.

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And never underestimate how much just a little bit of decoration will do for your booth. We had a small printed poster from Officeworks, some fairy lights, some black backing board, and some dark blue fabric we bought from Lincraft. Which took our booth from this.

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to this.

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See how much of a difference that makes? This wasn’t a super fancy setup either. Everything was being held together by gaffer tape. That backboard was literally being propped up by surplus water bottles that we had. Remember as long as the audience cant see the bugs, you can pretend they don’t exist.

But how was the event its self?

Well it was pretty good, we had lovely neighbours next to us. We had The Caves of Atman DX on one side and Spacetug on the other. We also had Brief Battles and Primordial’s Fireborn across the isle from us. I hadn’t met most of these devs before, but they were all lovely and we had a blast chatting to them and playing their games throughout the weekend (Although I had met one team member of Fireborn a week or so prior). Please check out all of their games, they are all super cool and tonnes of fun!

We also had a bit of media coverage, which I am never going to say no to. Once their articles are written up I’ll edit the links into this blog post, but until then we will just have to wait.

But honestly that’s about it. We went to the convention centre, people played Kana Quest, we talked a bunch, and then we collapsed with exhaustion in our Airbnb at the end of the day. All in all, I love do love AVCon. Hopefully Kana Quest will have launched by the time AVCon comes around again and thus I probably wont be exhibiting next year, but its always a good time. But before I leave you have a selfie of Reuben and I on the plane home.

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Hi all, this week I finished illustrating the art for World 7 in Kana Quest. And I’m pretty pleased with the end result. So I thought I would go through each of the “work in progress” images and talk about the things I did.

World7Wip

So here we have stage one. I wanted this world to be based around yellows and reds but then balancing it with light blues as the contrast colours. I also try to centre each world around something different, and I hadn’t done Japanese shops yet so I started with the central theme of the world from there. A couple of small details I put in here is the convenience store says Konbi 2. The word for 2 in Japanese is “ni” and “konbi” doesn’t actually mean anything. But if you add them together to make “konbini”, you get the word for convenience store. And on the billboard above, it says “Wayward Strand Coming 2019”, along with a QR Code to their website. I’m putting in a reference to this game because the Art Director (Goldie Bartlett @GhostTownGoldie) helped me out a bunch when I first started working on Kana Quest, and I wanted to acknowledge the help she gave me beyond the credits. The final little detail here is the drive through restaurant is called Zukina and is blatantly ripping off Sukiya a popular Donburi chain in Japan.

 

World7Wip2

Here’s the next stage. The biggest change here is the massive change of the colour pallet. I mentioned earlier that I wanted to have the yellows and blues contrasting, but the yellows I was previously using were too green, and thus they ended being complimentary with the blue. So I redid the pallet, grounding the shading with a nice warm purple which gives everything a beautiful looking away from a sunset sorta feel. Apart from a couple of small alterations these colours stayed the same until the end. And I feel as though, you should be fine with deciding to change your colour pallet if the current one isn’t working. Every time I’ve done so has resulted in much more striking scenes. Of course if you have too many colours doing so might be a bit tricky, so maybe stick to a few colours to start  with, then change them as needed until you are happy and then use as many intermediary colours as you like.

 

World7Wip3

Once I was happy with the foreground shops, and colour pallet I moved onto making the background buildings. I have a fair bit of trouble with things that are not in the foreground because you need include less detail, but because it’s pixel art, you need enough detail to properly convey what it is. And to be honest I don’t think I’ve mastered this yet. I probably included too much detail on these background buildings. Also a small quirk about how I make these scenes, because each layer is parallaxing (foreground layers scroll faster than background layers) I have to make sure that the art for the background buildings extends to the lowest point in the foreground shops, otherwise there will holes. But the result is a bunch of artwork that just isn’t seen 80% of the time.

 

World7Wip4

Next up was completing the shading on the background buildings. There’s not a whole lot to say about this stage, its just a slightly more developed version of the previous image. Except that in this one, I’ve repeated the background buildings so they take up the whole screen. I do this to get a better idea of how it will look in game.

 

World7Wip5

Next up is the foreground. This is the first time I’ve had an actual person in the foreground. I had people in the stalls in World 5 and some students in World 6. But noting this front and centre. The main reason is lack of courage. I started learning pixel art specifically for Kana Quest. But I finally stopped putting it off and did it. My process was as follows. Create a rough sketch of the outline of the character. Then clean up the lines so everything looks nice and neat. Then block in large areas of colour going over the previously created line art. Finally add in small areas of shading and detailing.

 

World7Wip6

Last one! There are only two main changes here. Firstly I finished the sky to have the same dither effect used in all the other worlds, and then I gave my young boy a baseball cap. What team is it for you ask? Why, it’s a cap for the Hanshin Tigers: the team of choice in my area of Japan. I decided to give him the cap because he looked like a kid who’s a part of the baseball club at school, and thus would totally be all about his local team.

Fun fact about the Hanshin Tigers, they haven’t won in decades and its all because they got cursed by Colonel Sanders. And no, I’m not making this up. When they last won the championship, their supporters threw a Colonel Sanders statue into the river next to the stadium. Why? Because they thought it would be fun to find lookalikes of team members in the crowd, and then throwing them in the river in celebration. But the Hanshin Tigers had one American player. And they couldn’t find another westerner, so they just threw in a Colonel Sanders statue in instead of a fan. But the following years they went from being the champions to 18 years of ending in last or second last place. So years later they went in and pulled up the statue. But they only found the top half, and the Colonel’s hand was missing. But their performance improved a bit. So a few years later they went looking for the other half, and found it. Once again the team’s performance improved again. And they were now one of the better teams but they kept getting unlucky losses towards the end of the season. So there is a huge bounty on finding the missing left hand, but alas they are yet to find it. The found parts of the statue actually now rest inside KFC Japan’s headquarters.

1200px-Curse_of_the_Colonel_DSCN7774_20090921

Look upon the destroyer of Hanshin Tiger’s fan’s hopes and dreams.

 

Anyway, that’s all I got for this week. Until next time take care and have a great week!

Hi all, welcome to this week’s Kana Quest Devblog. This week I started work on World 7 in Kana Quest, and as a result I have been looking at a LOT of reference images. And looking at my references, made me start breaking down the different stylistic patterns I was seeing. Then in turn I started thinking about how those patterns affect the feel of a piece. So today we are going to look at a two different techniques/styles in pixel art, and what feelings they convey.

The first technique I want to talk about is the use of outlines. A lot of character art will have strong lines around the character as well as components of the character it’s self. Compare these two pieces of character art.

They both utilise an anime an anime-esque aesthetic but the end result and feel from the two is massive. And the pattern that I’ve noticed is that the lack of borders make a piece of pixel art feel more mysterious. While the inclusion of borders make the piece more concrete.  The piece that really illustrated this to me though was this one.

I love this piece. The reason this piece is so evocative for me is the incredible use of both bordered and border less pixel art. The silhouettes of all the creatures is clearly defined by the borders but the shading is done without. This creates a wonderful push and pull of between the known and unknown. Of course the use of mono directional dithering (seen in the clouds and the antelope monsters fur) further adds to this feeling.

 

Which brings me to the topic of dithering in general. Depending on how you use dithering it can change the feel of a piece dramatically. In this piece the use of irregular dithering makes the scene even more surreal and mysterious.

 

 

 

 

mossy_robo_by_sky_burial-d9u76yl

Source: https://sky-burial.deviantart.com/art/Mossy-Robo-594919677

And yet, dithering can also cause a piece to be almost “too real”.

db8c9a9259fa221c720fb700c77fcc92

I tried to find the source of this one, but I couldn’t find it. If you know the source please let me know so I can edit it in!

And I think it all comes down to the type of dithering being used, and the extent that its implemented. What I mean by “the type of dithering” is if the dithering follows a consistent linear progression (as seen in the second image) or if its irregular (seen in the first). Also you can see that in the first image, the use of dithering is far more restrained, whereas the second image uses it basically everywhere. When I first started doing my art for Kana Quest I was definitely using dithering way too much. And I’ve come round to the view that your dithering should be used to create the texture of the piece. In the case of the mossy robot the dithering makes the texture feel kinda chunky and bumpy.

Anyway, while writing this I realised that everything I talked about has a consistent theme. Each of these techniques creates a tension between what is “realistic” and what is “abstract”. Using dithering over flat colours; more abstract (usually). Using outlines and borders makes pixel art more abstract, but more easy to define. And I think something that I want to be more conscientious about going forward is how abstract I’m willing to push the art of Kana Quest.

But before I go check out the progress on the art for  World 7 in Kana Quest. Its coming along nicely so far, though there are a few things I think I’ll have to fix up. I’ve also had a blast hiding as many little references into this one as possible. See if you can find them all. There are three so far. Anyway, until next time have a great weekend!

World7Wip

 

 

 

 

Hi all, and welcome to the Kana Quest Dev-Blog for this week. This week I am going to show you a small part of Kana Quest’s pipeline. Specifically, the process I have to go through to add new world art onto the previous world. Which, full disclosure, is terrible. When I was making my parallax system I did not consider the fact that someone would have to use said system. And that someone would ultimately be me. How that slipped my mind as a solo game dev, I don’t know but here we are.

With that said, what do I mean specifically when I say I am adding the new world art onto the previous? Well a few weeks ago I talked at length about the process for creating the background art for the 6th world in Kana Quest. Isn’t it nice? But unfortunately I now have to get this art from Photoshop, into Unity.

World6WIP3

Legit, still really chuffed with how this art turned out. I would give myself a pat on the back if it weren’t for the horror I am about to inflict on myself.

And then once into Unity, get it to connect onto the previous world’s art. You would think this is easy. And it should be. But then you know… my coding exists sooo guess we can’t have nice things.

w5wip

I remember when I thought getting this world to connect was going to be easy.

See I can’t make them connect by putting the two finished images side by side and creating some transitional artwork. Because of one thing. All these environments use a parallax effect, so the point in which each part of the world will end in different places. And the only way for me to know exactly where that is, is to make a world’s art, implement it, then figure out where the end of that world will be, and finally create an end point for the art. But then we have to start worrying about the game objects that handle the parallax effect for the art, as well as trying to make the transition seamless by making transitional art. Like I said before, this is not a great pipeline. But on the bright side Franz Kafka is incredibly proud of me.

So let’s look at what everything looks like at the start of this “process”. This is the level select scene before I add any of world 6’s art.

5thWrldScene

As you can see in the first image the foreground images extend way further than the sky does. This is to compensate for the parallax effect moving these images faster than the ones in the background.

World5Gif

As you can see in game, everything lines up and looks nice, unlike how it does in their initial placement. Remember, as long as the player doesn’t see your garbage fire you can just pretend it doesn’t exist.

 

So the first job I need to do is figure out the point that the transitional art will start. This is pretty easily figured out by scrolling to the end of the world and seeing roughly where the camera ends.

5thWrldScene2

The arrow is pointing to the effective end of world 5 because it is the point where the last level button appears to the player. So everything beyond this point will be used to transition to the next world.

So now that we have our end point we have to start making transitional art. I start with the sky because we want it to the first to change. The sky moves the slowest and thus will be the last to finish switching over to the new pallet (even with a head start). Making the transitional art is also really easy as it just involves dithering between the original colours to the new colours, like so. It’s vital to give yourself easy goals to score. This will lull yourself into a false sense of security, and get you thinking “Surely its not as bad as I remember”.

W5SkyEnd

5thWrldScene3

As you can see here, the transitional sky image cuts a little bit into world 5. 

Then we repeat this process for each layer in the world. So for this world we do it for the buildings, the park, the stalls, the lanterns and finally the ground. Each layer should be staggered a little bit so that the final result should look something like this.

5thWrldScene4

You can see how the off screen starting point for the transition art is staggered so that the foreground images start further away. But by the time the player scrolls past they will all line up and look great. Remember, as long as the player doesn’t see your garbage fire you can just pretend it doesn’t exist. 

But this is just for the transitional art. Once we have the transitional art in place we have to position the world 6 art to line up properly. But because the parallax effect is handled by different objects for each world, you can’t line up the images in the inspector and call it a day. I have to figure out where those images have to be so that once moved by the parallax script in game, they line up. But in the scene viewer, the final positions overlap and look pretty awful. This step is the most time consuming and irritating as its like putting together a jigsaw puzzle except all the pieces are moving and you don’t get to see their true position when you want to place a piece. But at least the result is a nice clean transition. Remember, as long as the player doesn’t see your garbage fire you can just pretend it doesn’t exist.World6ImplementedGIF.gif

So how would I improve this pipeline? Well I would start by improving the parallax script. If I had designed the parallax script to handle all the worlds at once, a lot of this irritation would be improved. Because then I could simply place the transition images where they need to be in the Scene Window and not have to switch between running the game to figure out the placement and then back to the Scene Window to position things correctly.

Secondly if I had fixed world lengths for each world I would be able to standardise the interval between each world’s images and thus be able to immediately place new world images by entering that interval into the Transform component’s X value.

Thirdly I could make the parallax script run in editor so that wherever the Scene window is looking at, the script will get that X value and parallax as if the camera was in that position. But once again this relies on there only object that handles the parallaxing.

Anyway I hope this this been an “fun” look at Kana Quest’s pipeline and hopefully it inspires you think about your pipeline and the inefficiencies built within it before you start production. Because that is one of the biggest mistakes I’ve made with Kana Quest. Ensuring quick and easy implementation of things is something worth spending a fair amount of time to work out. If you don’t get it sorted it can and will cost you days, weeks and even months of development time. And if you are really careless, you could end up writing a Dev-Blog about “The World’s Most Irritating Jigsaw”.

Until next time, have a great week.