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The devblog is back! Sorry for such a long hiatus, but we are here and a lot has happened!

But today we are talking about World 3. Just before Christmas I finished making the background art and the one direction tiles so I would be ready to make some levels!


All the levels for World 3 are now complete! Something I might do every time I finish making the levels for a world I might “review” the mechanic deployed therein. I’m going to judge a mechanic on a few different criteria. Most of these are normal things to consider for all game design, but the last is relevant specifically to Kana Quest.

  1. Complexity of the mechanic. (How long does it take for the player to figure out how it works? How much mental strain does it cause the player?)
  2. Design Space of the mechanic. (This is another way of saying how deep is the mechanic? How many interesting scenario’s can it be used in? Does it interact in interesting ways with other mechanics?)
  3. Fun Factor of the mechanic. (Just simply, how fun is it)
  4. Ability to help teach Hiragana. (Does the mechanic play help the player to remember what a Kana is or learn new Kana?)

So how did one direction tiles do? Very very well, they have a very low complexity so much so that a tutorial is often not needed for play testers, and it has a large design space! The fun factor is a bit subjective, but personally I find it quite fun. The only strike against one direction tiles; they don’t really teach Hiragana very well. They don’t work against that goal, but they aren’t any more useful than a normal Kana tile.

The only other problem with one directional tiles is they require a large level to be interesting. World3Level20.jpg

Due to a bunch of mistakes that I made when setting the game’s camera up, I have a hard upper limit to how big a level can be. On the whole this isn’t too bad as it forces me to keep the complexity down but it does mean that for mechanics like the one direction tile, I can’t use it to its fullest extent.

But on the whole I give one direction tiles a B+. Its a good mechanic that can be used to make interesting levels.

Before I leave you today, I just want to share my personal favorite level from World 3.


This what the first of a series of levels that I made where the player has to figure out the correct place to start matching the Kana. In each row there is usually only one Kana that will match with the row above or below it. Thus making the physical size of the level and the positioning of the tiles crucial to being able to complete the level.


Anyway, I hope you all have a great week, and I will be back posting regular devblogs again from here on out! I will try for once a week, but if I’ve just been squashing bugs that are not very interesting then it will probably get pushed back.


Imagine the following conversation. You’re 16, at a gathering with family members you haven’t seen in years and uncomfortable. Inevitably the topic of your interests come up. You gingerly mention that you enjoy to partake in what is colloquially known as “video games”. Your now slightly sloshed uncle proceeds to say one or more of the following lines; “video games are just murder simulators” “video games are incapable of being art” “A video game will never be able to make you CRY“.

To like video games, you have to be insecure about liking video games. Conversations like the one above have made sure of that. And if you weren’t aware, your drunken uncle’s arguments made to belittle became  a “to do list”.

Things to do in order to legitimize games.

  • Make a non violent game
  • Make a game that is #ART
  • Make a game that will people CRY
  • Make the Citizen Kane of games.

Non-violent games have existed for as long as there have been games so *pfff* who actually cares? #ART is subjective, but according to a very ugly toilet in an art gallery: As long as I say my game is #ART it is… Soooo DADAAAAA… *Jazz Hands*. “The Citizen Kane of Games” this is the Holy Grail of this list. But how does one achieve it? It’s such a nebulous concept. If ONLY there was some tangible goalpost one could use to figure out if a game was eligible for the title of “The Citizen Kane of Games”. Oh wait look at the third item. All a game has to do in order to be considered as “The Citizen Kane of Games” is make people cry.

And so to this day Game Developers will subconsciously use this list as their Game Design Documents. There is nothing wrong with artistic, non-violent and tear jerking games. Papers Please, To the Moon, Firewatch fit this mold but are genuine masterpieces. But we need to burn the list. Or at least we need to feed the list to RUMU.

RUMU is the reason this essay exists as these are the RUMUnations that were inspired by playing the game. Its a well made point and click adventure game made in Sydney (#goAussieGameDevs) about a sentient robotic vacuum that can only feel love. RUMU cleans the house for their humans David and Cecily (even though they always seem to be out whenever RUMU is cleaning), but spends most of their time talking to Sabrina the sentient house management AI.

Before the criticism comes, if you are interested in it, go get RUMU and support Indie Devs (Link: ). And if you care about spoilers, stop reading now.

RUMU is a game that ignored the most interesting aspects of its own premise because it was too busy looking at the damn list. It doesn’t take long for you to know something is up. Sabrina always talks as if she is hiding something e.g. “David and Cecily are… out again today RUMU…”.

And sure enough it turns out David and Cecily are dead. And their death was written to inflict the maximum amount of emotional trauma to Sabrina (and by proxy the player).  David ordered Sabrina not to watch him work in his lab because it made him uncomfortable (and that he was planning on editing her program without Sabrina’s consent) and then accidentally spilled some highly toxic chemicals, forcing the lab into lock down. But Cecily was on the outside of the lab. So she emotionally blackmails Sabrina into letting her into the lab to die with David (“Sabrina if you love me you will let me in” – Cecily). Thus causing Sabrina to deal with PTSD and crippling guilt ALONE for eight years before she chooses to finish construction of RUMU.

The reveal of this moment is teased and built to the entire game. So RUMU does earn the emotional pay off. But at what cost? The core concepts of RUMU are the ethical questions that will arise when we are capable of making sentient AI. What are the ethics of changing/bug-fixing a sentient AI? Is it okay to create an AI simulacrum of people who are no longer in your life? If a sentient AI is suffering do you have a duty of care for them? But the biggest question for me is what do we owe our creations? If we make a sentient being knowing that they will be flawed (and they will suffer for those flaws), is it ethical to make that being to begin with?

Because all the time and energy of game is dedicated to building to that one tear jerk moment at the end, there is little energy left to dig into the rest of the questions that RUMU asks. Because of coarse all #artistic games need to make people cry. This idea prevented RUMU from whole heatedly and confidently tackling the ideas that would have made it something extraordinary and not just good.

And that’s ultimately what this comes down to: moving from insecurity to confidence. The confidence to make games that are earnest, silly, sad, life affirming, funny, horrifying and challenging. And the confidence that items off a check list do not determine the artistic value of our art.


And here we are, the end of 2017. In March this year I decided that I should be devoting all my time and effort into finishing Kana Quest. So much has changed over the course of these months and I decided as a way to wrap up this year we would look at how Kana Quest has evolved.

Just a heads up I will likely not get every detail in the chronology perfect. This is just a chance for me to look back and see how much I’ve achieved this year.

March-April 2017:

So here is where we began the year. Kana Quest was something I had worked on every now and again since 2015. And to be honest not much was happening with it. But after taking a long hard think about where I wanted to be professionally in the next 3-4 years I realized Kana Quest was the best way for me to get there.

Below is the closest I have to footage of what the game looked like at the point I started work.

But the big push that got me to work on Kana Quest was AVCon. I had seen a post in the Melbourne IGDA page for devs who were interested in showing off in Adelaide. And I decided, I should do it. So the first thing I started work on was the Sakura background of the first world. I didn’t need to have the whole game done, I just needed the first world or two done so that folk could get an idea of what the game is like.

March was also a big milestone for me as it was the first time I took Kana Quest to the Melbourne IGDA meetup. Where I learned that my puzzles were hard to see, the matching effect was hard to see, and my tutorial was terrible (I’m *never* gonna hear that last piece of feedback *ever* again 😛 ).

About mid April I decided that Kana Quest had very little in the way of character, so I decided to try experimenting with anthropomorphized Kana tiles in an attempt to fix this.

The last thing I started working on before the end of April was a backdrop for each puzzle so that the player could see the important information more easily.


May – June:

After making the design for backdrop in late April, May involved me actually implementing it. This meant sectioning each part up so that Unity could create a different sized background based on each level, this honestly proved to be much easier than I thought it was going to be.

Then came the implementation of the Cute Kana. Following a positive response to the experiment I did in May, decided to make all the Kana have cute little faces to give them character.

Of coarse the hard part was managing all these new animations attached to the same prefab. Which led to this nonsense. Actually the current animation tree is even more messed up. Here I only have the normal Kana animations hooked up, not the stone kana, none of the Katakana variants, and none of the other mechanics. Sooooo yeah navigating my animator panel is hell now :/

Late May and early June was where I started putting more effort into my tutorial, rather than just explaining to every person who played it what one earth was going on.

Another massive change in this time period was changing how tiles moved so that they would move with the mouse when they were dragged. This improved the feel and user experience of the game massively.

And I also added a medal system so that players could kind of choose their own difficulty setting. This meant players weren’t punished so harshly for not being able to finish the level in the minimum number of moves.

July – August:

This is the point in time where I knew that I had been accepted into AVCon, and the countdown to that was coming. So I buckled down on making everything look as pretty as I possibly could, by reworking old bits of UI to make them work with Kana Quest’s new look.

But the most important part of July was AVCon, and it was amazing.

It was the first time I got to see non friends and non game dev people playing my game and it was such a cool experience. And I got to meet Carmine the developer of Icebox: Speed Gunner and quite a few people from Team Cherry; the makers of Hollow Knight.

Shortly after I got back after AVCon I finished implementing Katakana into the game.

Its always been the plan to include Katakana in the final game free of extra charge. Most of Kana Quest’s direct competition all include it as additional DLC or as a sequel and I wanted to offer my players greater value for their money.

But once I had my Katakana in, my count down to PAX truly began. There were three things I needed to get into the game before PAX. A better tutorial, world 2 being implemented, getting it working on Android and sound. As I had been working on world 2 in the lead up to AVCon I decided to get that done first.

And by the end of August I had basically all but finished making world 2. Leaving me two months to work out the sound and tutorial.

September – October

So these were the last months before I would take Kana Quest to the biggest stage it had ever seen. I was stressed beyond belief. Originally I planned on making the music for Kana Quest myself, but a quickly realized that it would take me way too long for me to do. So I decided to employ the amazing Nicole Marie T ( for the music. Not only did she manage to compose me three different pieces of music within a very tight time window, but she also produced a product of much higher quality than what I could have produced if I did it.

Since I had Nicole on music and I’d managed to get World 2 done pretty quickly I was able to work on porting the game to Android. And let me tell you, there is a reason every indie dev and their dog seems to use Unity. That reason is porting your game is obnoxiously easy. I had it ported within the first week of September.

With three out of four things basically taken care of so early I was thinking, maybe PAX will be fine. After all I just have to fix up the tutorial and I’ll be perfect.

Rule one of game design: never ever think “oh this will be easy”. Because if you do, it wont be.

First thing I changed to make learning the game easier was the completion gauge. The idea being that if the player could see the how close they were to completing the level visually it would help them learn the goal faster.

Even once the gauge was added I didn’t finish reworking the tutorial until the end of September.

Then I made one laaaast minute change that I probably shouldn’t have.

See I have a game reset function in Kana Quest if I want to reset the memory. Thing is I forgot to factor that in with the hint screen so the hint screen would never go away once the memory was reset. This was a problem at PAX as we had to restart the application every time this happened. Fortunately this was the worst bug I encountered during PAX.

November – December:

Honestly not much got done over these last two months. About the only major thing I achieved was finishing the art for world three. The main reason I didn’t get a lot done was I was just burnt out from doing PAX.

Anyway. I look forward to writing for you all in the new year until then take care.



Hi, sorry for missing last week’s devblog. Was just working on stuff that wasn’t very interesting to show off, so I decided to leave it be. But this week we have some fun stuff to look at!

First up is World 3 is in the game!World3Animated.gifWell, at least the art assets are in the game. Getting the art in can be a bit arduous. First thing I have to do is position all the sprites so that they line up with the previous world’s sprites, then I have to create a new parallax manager for this world. All this does is it manages the different layers and makes sure they move the right amount. Then I have enter in all the sprites into the correct layer and set the movement modifier for each layer. Its just one of those things that isn’t complicated but just takes more time than you think.

Speaking of things that aren’t complicated but are time consuming: Pallet Swapping. So something I do for each world is I create new color variations on my UI. This is so my UI matches the color of whatever world the player is in.

This is not a complex task, but boy is it ever mundane. Open file, select color, replace color with new color, repeat for remaining colors, save, repeat for the next 80 something UI elements. Doing all the UI recolors took me about 75% of a full day to finish. The evening that I finished doing them I was talking to a friend and realized that if it took me most of a day to do the recolors if I had to repeat that process 15-20 more times that would take up most of a month to do. Not great. So I had an idea, I’m going to spend a day or two making a unity plugin that automates the process for me. You just give Unity all the files you want it to modify, each of the colors in the original sprite, each of the new replacement colors, where everything should be saved, and what naming convention it should apply. And when all is said and done I should even be able to sell it on the Unity Asset Store for a buck or two.

Finally I got the bare-bones of the next mechanic into the game. OneDirectionTilesVer1GIF

These are One Direction Kana. They can only move in one direction… also they love Harry Styles. They are “functionally” complete in that you can’t make any invalid moves with them but the game currently lets drag the Kana in the direction of an invalid move, it just then pops it back to where it began because it was an invalid move. I’m also not completely sold on the visuals of the mechanic yet, but hey its a placeholder so it will change soon enough. Anyway I decided to make this mechanic the next mechanic because its a pretty simple mechanic for the player, and it doesn’t have a requirement of learning more Kana to make the mechanic work (unlike the Mystery Kana). This is important as the start of Kana Quest has a really high learning curve, and I need to give the player a breather and some time to revise the Kana they’ve seen.

So before I head off, next week (23rd/24th) will be the LAST Dev Blog for 2017 (as the following Saturday will be my birthday and the day after that is new year’s). So what we’re going to do is, take a look at what’s changed with Kana Quest since I’ve been working on it full time. Just to see how far we’ve come.

Anyway, until then, Have a great weekend and Happy Holidays!


Good morning all. Sorry I missed last week. I was mostly still working on the new logo still and I didn’t want to publish the final finished version until I had bought my trademark for it.

But this week I’ve started work on the next world for Kana Quest. w3WIP2

So this week we are gonna look at some of the techniques I use when making these background, the way I set these things out and the inspiration for this one.

So right off the bat you will notice the biiig blank space in the second half of the picture. why is that there and what am I using it for? Well the backgrounds in Kana Quest have to repeat seamlessly. But they also have to transition nicely from the previous world. So what I’ve done here is I’ve drawn the connective tissue first but leaving a lot of room in the document so I can then draw the repeating part of the art.

Another thing about the setup of this image that you cannot see is the layer structure. Because the backgrounds will be parralaxing I need to choose what part of the background goes on which layer. And then work from the furthest back to the closest. The reason I do this is so that if there are any variations in a foreground layer’s height I can make sure the background layers still have stuff there so we don’t get a big gaping hole.

So now onto the techniques I use to make this a lot faster than hand placing every pixel. Whenever you are doing dithering (the process of creating a dot pattern to create the illusion of shading) in photoshop the paint bucket is your best fried. Let’s say we were going to make a bunch of autumn trees like in the background.

pixelart demo1

The first thing we would do is jut get some flat base colors like this. Looks pretty nasty right? But once we add some shading everything will look great. The only problem is no one wants to sit around and place all those pixels by hand.  So what we are going to do is select the areas we want shaded and use the hue saturation adjustment layer to alter those selected areas. Then we fiddle around till we have a shading color that we like. And we get this.

pixelart demo2

Then we will make a selection were we want the “in-between” of the two tones to be. I like to select the shade color with the magic wand and go to Select –> Modify –> Expand and expand an appropriate amount.

Then once we have that selection I go to my paint bucket and switch the mode from Foreground to Pattern. Also make sure you define a dither pattern beforehand (this is done in basically the same way you define a new paintbrush). Then just fill with your bucket and it will look like…. trash. But that’s ok.


What we are going to do with this is use it to create a selection that will allow us to immediately fill up the black pixels with the chosen shade color and then delete the white pixels leaving us with a perfect dither pattern. Like so.

pixelart demo4

This is great because we get to have dithering in our piece without having to do any of the laborious pixel by pixel shading. Then for the final step we just repeat the previous steps for the highlights and we get this.

pixelart demo5

Seeing as these are supposed to be trees I would recommend adding some irregularity to the shading. But adding that is much faster when you have a good guide ready to go.

Finally I’m going to talk about the inspiration for the art for world three.

I wanted the first four worlds to follow a full year season cycle to begin with. The world one starts with spring and the world two is summer, so world three is of course autumn. What this means for the art is there needed to have Japan’s stunning autumn colors on display. But I also wanted to shift the perspective of the art. Spring and summer are both warm and optimistic times. Autumn is a shift, so while the color pallet is still very warm but I wanted it to be more introspective by bringing the focus to the foreground. As a result I have the brilliant red of the Japanese Maple trees the closest thing to the player. This way when we transition to world four when the mise en scene is even more cramped it wont be as much of a visual jump.

Anyway, there is still a lot of work to be done on the background before it’s finished but I’m sure I’ll get to show you the finished thing soon!

Till then, take care and have a great day!


I decided that whenever I finish a game I’m going to do a quick and dirty analysis of those games. Basically what works, what doesn’t, and what’s interesting.

First up is Mages of Mystralia. A game made in Canada, yet named itself after Australia for some reason. You play as an apprentice mage called Zia who looks at the sky one night and accidentally awakened her magic and blew up her house and family.

So here is the hook of the game, you are an apprentice. Which means you have to learn your craft. You start with four basic spells. A close range attack, a fireball, a spell to make terrain, and a shield/movement spell. But with each of these spells they have lots of different runes that can be attached to your spells which will change how your spells behave. This is the best part of the game by far. As a filthy a smashed avo eating millennial, I like my Harry Potter. And every kid who read Harry Potter has at one point wanted to go to Hogwarts, study magic, and make my own spells. Most games, you have a set list of spells that you unlock when you level up. Mages of Mystrafrica is probably the closest any game has come to that fantasy with its mechanics.

But the other spell tome has to drop eventually,  Mages of Mystrermany decided that rather than focusing on the best part of the game it would focus on combat; The part of the game that makes most of the magic system’s depth, redundant. See there is no value in crafting the perfect spell for any given combat scenario because its most effective to mash your fireball until all the goblins are dead (at least until you unlock the rain augment, then you spam rain with fire instead).

Now there are parts of the game that do reward you for exploring the depth of the magic system, but this is all side content. You have to go out of your way to experience this stuff, and usually with a lot of backtracking. For example you will find puzzles that you have to come back to later because you just haven’t found the correct spell augments yet. The result is a structure such that shepherds you along the critical path, despite the side content being the most engaging part.

So roundup time. There is an amazing game at the heart of Mages of Mystrundepants, but they forgot to focus in on and execute on that core fantasy. If you are ever planning on including magic in your game, a similar system of having different combine-able spell effects is a really good idea and you should look into it, just remember to tighten up your controls and don’t throw countless waves of boring mobs at the player.


So, PAX is getting awfully close now isn’t it.

I’m kinda going batty just trying to get everything together for the game. But the most infuriating part is that everything I’m doing looks like I’m doing very little from the outside.

When all you are doing is fixing small little bugs you don’t have anything interesting to show. I wish I could show you a bunch of exciting new features but I can’t. The closest thing I have to anything new is a loading screen hint section. HintDemo

Anyway. Apart from this the main thing I’ve been working on is contacting press people who are coming to PAX who I think would be interested in Kana Quest. I’ve had a little bit of a response so far so that’s better than nothing. Found one person who was perfect for Kana Quest. They were interested in educational games and taught Japanese themselves. So was able to contact them and get a positive response there.

I also got to contact Meghan O’Neil at PCPowerPlay. That one is big for me as I used to read her opinion pieces in PCPP a lot back in the day. And was the first proper critical thought about games I was exposed to. So without her work I probably wouldn’t have wanted to make games. I don’t think Kana Quest will be her jam, but I do get to say thanks so that’s exciting.

In other news it looks like Kana Quest merch will be available at PAX so if you are interested in a Kana Quest T-shirt, Kana Soft Toy, or Socks, PAX Aus is your chance!

Anyway. Hope y’all have a good day and I’ll see you around. I won’t do a blog post next week, but you will get a MASSIVE one after PAX!

Till then.



Hey welcome to this week’s Kana Quest Dev Blog. Where I get to talk all about what I’ve been doing for the last week. What I achieved, what problems I had and how I solved those problems for my game Kana Quest (A Puzzle game that’s a cross between dominoes and a match three game that teaches the Japanese phonetic Alphabet).

So PAX Aus is now less than a month away. This means most of my energy is being spent preparing for that. As a result very little new content for is going to be made for the game. I’m patching bugs certainly, but making new content will have to wait for now.

KanaQuestPAXBanner180dpi.jpgKanaQuestPAXBanner280dpi.jpgSo what sort of things are taking up so much time? Well mainly getting my booth ready. I learned from AVCon earlier this year, that your presentation matters. It matters a lot. Thankfully PAX provides printing of artwork included in the booking of the booth which will improve my baseline presentation a bunch. But I do need to make the artwork for those posters. As of this week I can officially say that I have been given grant money by Creative Victoria to attend PAX Aus which is amazing and I of coarse can’t thank them enough. And that bright pink banner topper is part of the conditions of the grant. I have to display the Melbourne International Games Week branding on my booth. Which I am more than happy to do. I also made an English version of the Kana Quest Logo as at AVCon I realized that most people had to ASK what the name of the game is. I want my players to know the name of the game without asking so it was a natural addition.

One big achievement this week was this little beauty (please imaging me saying beauty in a really strong Aussie accent).

TaxAccept.pngTurns out getting my tax information verified by Valve turned out to be a bit of a headache. I’ve been trying to get it done for last three weeks and its been very frustrating to do. I do need to give massive shout out to Carmine Fantarella at Games of Edan (Link: ) . He provided a bunch of help in this department. So I do want to give thanks where thanks is due. If you like fast paced action games go check out his game ICEBOX: Speed Gunner, its really sweet and just plays amazingly.

So now that Kana Quest is on Steam what’s the next step? Well the next step is setting up my Steam Storefront. This means I need to make a trailer, prepare some HD screenshots and once again make sure my presentation is top notch. Once I’ve done that I’ll submit the game to Valve, they will review it and it will go onto the Coming Soon section.


Finally for this week we have the tutorial. For as long as this game has existed teaching players how to PLAY the game. Which is saying something as the first people to ever play the game were two native speakers of Japanese. This week I finally got sick of my tutorials not working so I sat down and made a list of skills the player needs to have to play the game.

  • Know how to flip the Kana to see the English
  • Know how to move the Kana.
  • Know how Kana match with each other.
  • Understand the win state of each level.
  • Know what the undo and restart buttons are.
  • Understand that Stone Kana can’t be moved.

So I went off and made the following tutorial level.NewTutorial5.gif

So this tutorial level does a few things differently to all previous versions. Firstly this tutorial takes place entirely on only once scene. This means I can add new concepts one at a time and those additions will be the focus of attention. It also is much harder to sequence break than previous version. Actually I specifically made it impossible to do so. I can’t afford players who just skip the tutorial as they will be lost. Anyway I need to now playtest this new tutorial to ensure that it’s up to the task of teaching everyone at PAX Aus.

And with that, another Dev Blog comes to an end for another week. If you are interested in Kana Quest please follow me on twitter @notdeaddesigner or follow my blog here on WordPress. I hope you all have a great weekend, till next time.



Hi Welcome to the Dev Blog for Kana Quest. If you’re new here and have never seen or heard of Kana Quest, read this blog post for the Who, What, When, Where, and Why of Kana Quest. –>

Otherwise read on to hear about what’s been done over the last week!

So I have one and a half months till PAX Aus hits. And I am officially freaking out. There is so much to do and so little time for me to do it. I still have to get Kana Quest onto Steam so I can take preorders at PAX. I still have to implement some sound into the game. I still have to organize my booth’s set up. There are still some bugs that need to be ironed out. I need to make an awesome trailer to show off my game. And finally the one thing that has me worried most of all, my tutorial is still awful.

The tutorial has always Kana Quest’s biggest weakness. I tried to sit down this week and think about all the common misconceptions people have when they sit down and play.

  • They think they are writing words.
  • They think Hiragana is Kanji and start freaking out they don’t know the meaning of each letter.
  • They don’t understand they are trying to match sounds.
  • They don’t understand the win state.

So how am I going to prevent the player from thinking these things?




That’s it. The reality is I’m just not sure. But I cannot afford to give up. So here are some ideas I have that hopefully will help fix the problem.

Idea 1. Completion Gauge: So most people when playing are not sure what their goal is. If I give a visual representation of how close the level is to being completed it will better communicate the goal. I think it will help players know how close they are to completing a level, but not necessarily understand why they are completing the level.  CompletionGauge2.gif

As you can see I have already started work on this idea, mainly because I think this is my best one. To get this working though I have had to change how I handle checking whether or not the level is complete. Now the game will find the largest group of Kana in the level. Before the game would only actually check the group size starting from one location. I had to change this as if that starting location was the last to be connected it would be very easy to have a situation where the gauge goes from zero to full which would only confuse player further.

Idea 2. Show the Player the Hiragana Table: So the idea here is to show the player the whole Hiragana table after they learn their first three Kana. Hopefully this will demonstrate to the player that Kana are phonetic letters and not Kanji (which are pictorial). The other great advantage of doing this is I prepare the player for all the characters that they will learn. That way they don’t freak out that they are going to have HUNDREDS of Kana to memorize. HiraganaTableGif.gif

Idea 3. Show the English Sounds Matching in Tutorial Levels: The idea behind this one is that the player doesn’t get to see where things are matching. While this is a core part of the gameplay later on, for the tutorial the most important thing is that the player understands the core mechanic. If showing the English for a little bit will achieve this I’ll try it!

Idea 4. Change the Structure of Tutorial Levels: So the idea here is that I increase the size of the early levels but not increase the difficulty. What I’m thinking is a really long level with the same Kana repeating but with stone Kana to limit movement. Coupled with the completion gauge hopefully this will communicate the idea that creating matches is the goal.

So those are my ideas on how to improve the tutorial. They aren’t perfect so if you have any ideas, PLEASE TELL MEEEE! I’ll see you all in a week’s time where hopefully I haven’t turned into a stressed out wreck.