Archives for posts with tag: indiedev

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!

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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.

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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!

AAAAAAAAAND I’m BACK!

So, to start with Not Dead Design’s Not Dead Designer is still NOT DEAD! I know, truly remarkable! Despite going through a full week of being well and truly outside my comfort zone I got through it, and I would like to think with a few more friends on the other side!

My week started with GCAP (Games Connect Asia Pacific), which is the Australian equivalent of GDC. And following the rules of Australian equivalent of x thing that exists in America; GCAP is much smaller than the American version, but personally I see that as a plus as too many people can be too overwhelming. But that said, this year’s GCAP WAS HUUUUGE! I went a few years back as a student when I had no clue what I was doing, and the attendance this year was at least two times larger.

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I had a pretty good time at GCAP, I made some cool new friends. Watched some really informative talks on a whole bunch of stuff. This year I was gravitating towards the business/marketing panels the most because of me wanting to learn how to best promote Kana Quest. And I feel as though I got my moneys worth out of the conference which I don’t know I did the last time I went. That’s not a statement of the quality of the conference last time, but just me saying that I didn’t know how to utilize the knowledge I received last time. I also saw one talk given by one of my old university lecturers. Though the most memorable talk was probably the one given by Rami Ismal from Vlambeer and Teddy Dief. Here’s a video clip from it. I think you can figure out why it was so memorable.

Fortunately I only made a complete ass of myself one during the whole time at GCAP. Which is always nice. Oh and I got invited to go get dumplings after the second day of GCAP with a bunch of other cool folk. So that was awesome.

Then Thursday arrived. And I had to bump into the convention center. Walking into that hall and seeing my game art next to so many other amazing games was so much more amazing that I could have ever hoped it to be. It just felt incredible. And that was before I had my TV, my tablets, my signs, my merch, my lights. I’m pretty sure I had a big goofy grin on my face the whole time.

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Well I did until my hire company was late turning up. A full two hours late. Everything was fine to be honest, but I’m the sort of person who will always assume I’ve messed something up. So the whole time I was certain that I fallen for a scam, or that I mis-typed my bank details. One unfortunate result of the rental folk being late was that I couldn’t go out and buy some small supplies for my booth. So by the time they did turn up I was running a bit behind schedule and that resulted in me missing the Freeplay Parallels exhibition that evening, which was sad because there were some games there that I really wanted to see in action. Wayward Strand, and Unnamed Goose Game were the two I really wanted to see, but couldn’t so that was disappointing.

But then before I knew it, it was Friday and PAX was upon me. PAX opened for press at 9:00 am for press. I got to meet quite a few really cool media folk, including Meghann O’Neill who writes for PCPP (PC Power Play). I mention her specifically because I used to read PCPP regularly and her opinion pieces were basically the first critical thought applied to games I was ever exposed to. And basically got me thinking critically about games myself. Which in term resulted in me wanting to make games. So getting to meet her was really exciting.

So I should probably talk about my set up at PAX real quick. So at AVCon (my first Con experience) I was really disappointed in my presentation, and resolved to improve it for PAX. Which I think I did. Well it does help that the base set up for the PAX indie pods look pretty great to begin with. But there were a few big things I changed that had a really positive impact I think. Firstly the game was running on three tablets that I hired out, not just my personal laptop and a friend’s personal laptop. Secondly I bought some LED strip lights ahead of the convention which just looked great. Thirdly, I had a big TV screen that passersby could see some prerecorded footage of the game. I felt this was a really good setup. Finally I had a version of the logo in English as well as the Japanese logo so people knew what the game was called without knowing Japanese. I feel this setup was so much better than what I had at AVCon. It was more inviting, people could tell what the game was about easier, and it attracted attention more effectively.

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I also want to talk about the people who were helping me exhibit. Lise, Chris, Katie, Luke and Reuben. Without question I could not have done PAX without all their help. It was so incredible having a team of people I could rely on to help out and man the booth when I got too tired. I want to specifically thank Lise for taking control of my social media for the weekend. I just want to thank all of them so much, because they are all so amazing and so lovely.

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(Ok soppy stuff over now)

Lol psych! I also want to thank my amazing sister Phoebe for making all of our merch. She hand made every single plushie, and every single t-shirt. She worked so hard. One the first day of PAX we sold out of all our plushies and we had to ask her to make more. And you know what she did? She worked till the wee hours of the morning to allow us to have more plushies to sell the following day. She worked so hard. I cannot thank her enough.

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Ok, now the soppy stuff is actually over, where was I? Oh yeah, Friday and the show floor has just been opened to the public. Something you don’t immediately realize about PAX is how when the flood gates open, not much happens at first. You would think suddenly there’s a sea of people. But its a bit more gradual you have a few stray people walking through and bit by bit more and more people find themselves in the indie section and before you know there a crowd of people watching your game and all three tablets are taken. In fact at times I thought I should have gotten a fourth tablet as there was that many people. In terms of how busy we were, we were surprisingly busy. We were never empty, we always seemed to have at least one or two people playing at all times. We were not as busy as RUMU the game next to us but then again, their game is about a sentient roomba sooooo, its kinda hard to compete.

In terms of the response from the players, it was really good. There were a lot of folk who were legitimately disappointed they couldn’t buy the game there and then. People loved the art style, and they liked the concept. Also the elevator pitch consistently sorta caught people a little off guard in a good way (The elevator pitch is : A puzzle game that’s a cross between Dominoes and a Match-3 game… but it teaches you how to read Japanese). I think giving people the first bit which is kinda unremarkable and then hitting them with the sucker punch of “but it teaches you Japanese” consistently got a lot of people really interested. Another really good piece of feedback actually came from a very small group of players: Native Japanese speakers. I had three native speakers of Japanese (that I personally talked to) come and play the game. And all three could sit down and play the game and enjoy playing the game despite knowing all their Hiragana already. This is really important because it means that the game aspect of Kana Quest is fundamentally a fun game. This has been a fundamental design goal for me from day one.

On the negative side of feedback, quite a few people were a bit disappointed there were no plans for Kanji, vocabulary or grammar in the game. Which I understand completely, but none of those things will work within the game framework itself. This is a very clear drawback to the approach to the design I have taken. I get to have a fun game, and it teaches a very important skill, but anything beyond the scope of that skill is basically impossible to implement in a way that doesn’t break the game. The other piece of feedback was that the actual logo needs a bit more work. While the color scheme looks good and works great, the actual logo doesn’t read very well. So I will likely be doing some more work on my branding in the near future.

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Another thing that happened at PAX was we ran a “win a free copy of the game when it comes out competition”. Basically to participate all folk had to do was draw their own Kana tile face and give me their e-mail and the 5 designs that I liked to most would win. People really liked this, we got a load of entries and it was pretty fun choosing the best designs. Once I chose the winners I animated them as if they were going to be added into the game as I thought it would be cool to see their work come to life. You can see the five winning designs below.

And I think that just about sums up everything that happened at PAX this year. It was an incredible experience and I look forward to doing it all again next year. Anyway thanks for reading and I’ll see you next week!

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: gamesofedan.com/icebox-speedgunner#_=_ ) . 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.

 

Hey. Welcome to this week’s Kana Quest DevBlog.

So what have I been doing this past week? I’ve been trying to implement some the changes to the tutorial that I talked about last week. NewTutorial.gif

So above is a new tutorial level that I made this week. There are a few new things here. First is the friendship gauge has been changed to show the size of the largest friendship group. This way it conveys information a bit better. Second I’ve changed the click image to a hand. In play tests with tablets and phones people have been confused by the old mouse. Thirdly is the English text bubbles above the Kana.  I’m doing this so that the player can see the connection between the Kana. Hopefully it will convey the idea that they game is about matching sounds.

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The most exciting addition to Kana Quest this week is that of SOUND!!! I recorded my voice actress Aki Nemoto to perform all the Kana tiles this week.  Here is a photo of my dad (a sound engineer) setting up the microphone with Aki. She did a great job, I got the exact quality to the voice that I wanted. Of coarse I do want to say a big thank you to Dad here for helping me record!

Once the recording was done, I downloaded all the files and implemented them into the game. As of the most recent build, if you double click a Kana it will say its name.

 

KanaQuestMusicManagerBut that’s not all the sound work that got done this week! I also commissioned Nicole Marie T to compose some music for Kana Quest. So far she has finished work on the Kana Quest Theme Song and has done a great job! She is now currently working on the background theme for world one and world two. But in preparation for those assets I have made a music manager. This script will fade the music in and out when changing between worlds and the title screen.

That’s about all I can show you for this week. I’m hoping to get some more play tests done on the new tutorial asap so I can further refine it. Anyway, hope you have a good week and I’ll see you next week.

This week was a big week for Kana Quest because as of writing, all the levels in the second world are complete. So for this week’s devblog we are going to look at how I go about making levels.

Before getting into it I just want to include a quick intro to some of the terms that I will use in this devblog.

Kana: The individual game pieces in Kana Quest. They are also letters of the Japanese alphabets (Hiragana and Katakana).

Match: When two adjacent Kana share a matching sound. Eg. KA N–> Matching “A”. Matches are important as they are how you complete levels in Kana Quest. When every Kana is connected by one chain of matches the level is complete.

Mystery Kana: The main mechanic of the second world in Kana Quest. They are represented with question marks both in game and in hand drawn notes. The player must pay attention to what the Mystery Kana matches with to find out the sound of that Kana.

Ok that’s that. Onward!

 

So what is step one? The first thing I will do before I make a level is to make a mental note of a couple of things. For example: What kana has the player seen before? What kana have been introduced very recently? How many moves did the last level need to complete? How many different possible configurations did the last level have?

That last one is really important. As it is the biggest determining factor of a level’s difficulty. For example look at the following mock levels.20170902_161642.jpg

Both levels have the exact same Kana, and require the same amount of moves to complete but A is significantly easier to complete than B. And it comes down entirely to the amount of possible configurations of the Kana. One of the first levels I ever made for Kana Quest was a 3×3 level with a Kana in every spot. It only took 2 moves to complete but no one could ever complete it.
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So once I’ve made a note of how difficult I want the level to be, using a pen and paper I start drawing down the idea of what the level should be like.

You can see this happening here. I start out with an idea for a level where you get two normal Kana to try and figure out lots of different Mystery Kana in the level. (Top part)

Once I realize the limitations of the level concept I rearrange things to ensure the level plays well (Middle part).

Finally I write down the solution to the level and the number of moves needed to get there. (Bottom part).

Once I’m happy with my first draft of a level its time to get it into the game!

To do this I have to give unity (the game engine I’m using) the following things. 1. The dimensions of the level (In this case 3×6). 2. Make a numerical list representing each of the Kana starting from the bottom left of the level.  (In this case the list is 12,47,20,47,47,310,47,307,47,322,47,105,-1,106,-1,108,323). 3. Tell unity how many Kana there are in the level. This allows unity to know when the level is actually complete. Once you do all of this you get…LevelDemo

One level, ready for play-testing! I will usually play the level once or twice to make sure that it is possible and I know the minimum number of moves needed to complete. Then I will give it to play-testers who let me know if the level is too hard or too easy. Then I will adjust accordingly.

If you have any questions about the level making process feel free to ask any questions in the comment section.

That’s me for this week. Have a great weekend all.

 

Hey, Welcome to this week’s Kana Quest Devblog where I talk about all the work I’ve done during the week.

So this week has been mostly about getting elements of the second world working ASAP. With PAX Aus fast approaching there are three major things I need to get done before then. First is World 2, second is getting it working on IOS and android and third is putting in some sound.

So most of implementing World 2 is done, the only tasks left on the plate is a tutorial for how to move to World 2, a tutorial for the mystery tile mechanic and finally all the levels. I’m trying to finish working on World 2 by the end of August so I have plenty of time to get the other things on my list done.

So I have two GIFs to show off this week. The first is a lock out screen if the player tries to move to World 2 without meeting the requirements.

World2LockedScreen

The other GIF for this week is a quick demo of how Mystery Kana work. So mystery tiles, cannot be moved and you cannot see the actual Kana. But they will match like normal Kana do. Using that information the player has to figure out what Kana is hiding behind that disguise. In this gif you can see the mystery matches with Ki and Na but not Ko.  This means that the Mystery tile must have the vowel “i” because if it was matching with the consonant Ko would match.  Then since we know that the vowel is “i” when we see Na match we know that the consonant is “n”. Add those sounds together and you get Ni. MysteryTileDemo2.gif

So there are a few things to keep in mind about Mystery Kana. Even if all the Kana match up if there are any Mystery Kana the level will not be complete. Secondly once you figure out the sound of a mystery tile, it will become a normal tile that you can move freely. This is great because it allows more interesting levels. For example you can make levels that are impossible to complete without unmasking all the mystery tiles.  This definitely increases the design space of Mystery Kana a lot.

Anyway that’s the devblog for this week. Hope you have a good weekend, and I’ll see you next week.

Before we get into the meat of this week’s update I just have some big news about Kana Quest. Officially Kana Quest is going to be heading to PAX Aus this year! If you are planning on coming come say hi and give the game a go! I would love to hear your feedback! And if you have any friends going tell them to check Kana Quest out! Anyway with that done, onto the week’s work!

So this week I’ve been working on implementing the second world into Kana Quest. I’ve known for a while that I want to transition between worlds by clicking and dragging the screen. And for the background art to join up seamlessly. So what’s the process of doing this involved?

world2MoreCurrent Step one was making the background art for world two. This was the easy part. All I really needed to watch out for here was to make sure that all the layers are repeatable so I can make the world as long or short as needed.

 

The next step was ensuring that the two worlds can transition into each other. This step will be easier in the future thanks to more planning in the world two art but no such planning was done for the first world’s art. As such the seam is a little abrupt. But its not an immediate shift so its better than nothing.

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MovingToWorld2

Part three was bringing the assets into unity and getting the camera to move when the player clicked and dragged. One small bug occurred with this though. I made my camera a physics object. Turns out any child object of a physics object loses its ability to know if the player is clicking on it. This caused some of my menus to stop working.

 

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Once we had the camera moving we had to get the background parallaxing with the camera. This means that the foreground art will move more than the background art to create the illusion of depth. This turned out to be troublesome as I kept being able to make my world two art not line up with the first world art. Thus forcing me to find a way to ensure that the art would always come back to the right position. This took half a day. It was not fun.

So here we have the last part of getting this whole thing working. The transition. This gave me the most trouble out of everything and is what I spent most of this week working on. The reason is for the first world I had used a static overlay that would fade in OVER everything in the scene. This overlay would work fine as long as the overlay was the exact same as the background. But once you add a variable camera position you no longer can guarantee this. So things had to change. So now, what is happening is I have a script that finds all the visible parts of the background, and prevents them from being destroyed when a new scene is loaded, then it moves those objects into the same relative position as they were in the previous scene. This is important as the camera’s position changes scene to scene so if this didn’t happen the art would be misaligned, or not in shot at all. Then would take all other objects in the scene and fade them out. Once the new scene is loaded it would get all the new non-background objects in the scene set the transparency to full and fade the new objects in. The result is what you can see below.

FirstWolrd2Level

 

And that was the process involved in adding the second world to the game. All subsequent worlds will be easier as I won’t have to worry about making the last three steps all over again. It will be set up for me already! Anyway I hope you all enjoyed learning about my process.

Till next week.

Another week another Devblog.

This was an ok week for productivity. Some stuff got done but not as much as I know I can get done (I spent most of Wednesday practically falling asleep). But three big things were done this week!

The first thing is that I have officially started working on Kana Quest’s audio. Well more like the background music for the game. Now when I knew I was going to have pixel art for the visuals of Kana Quest I knew that chip tunes were going to be used for the music. So this week I did my research of what were the best programs for making chip tunes and landed on FamiTracker (the visual fustercluck you see below). Then I spent a little bit figuring out how to use the thing. Thankfully there were some really well made tutorials on youtube that sped up the process. Now that I’m used to the software its not so bad to work with. Although if you look below you can see that I kinda ended up with a piece of music which has 5 frames to a crotchet for some reason. This is great if I want to you know have quavers (sarcasm). Regardless, progress on the theme song for Kana Quest is progressing nicely.FamitrackerScreenshot.png

The second major achievement for this week was the implementation of an options screen. Last week I talked about how the player can now switch between Hiragana and Katakana. The options screen is how the player is going to do that, so it is pretty important that I get the options screen working. I haven’t got all the controls on it working yet but we will get there soon enough. At the very least its really nice not to have one grayed out button on my main menu screen.Options Screen Demo

Finally, saving the best till last, we finally have world 2 implemented into the game! So the way you get to the world 2 is by click and drag the screen to move over. I’ve put a ridgidbody2D onto the camera so that when the player lets go of the camera will continue moving for a moment. It just feels a nicer to do doing it this way. Another thing to notice is that the menu button changes color when we move to world 2. One of the things that is a big part of making the art for a new world is making sure the colors of the UI matches the new setting. So, although you can’t see the extent of this in the gif below, a large part of putting this into the game was recoloring all the UI. One last small detail in this gif is the title screen. I’ve changed the image used for the stars in the background. I’m much happier with where they are now and the new stars look great!MovingToWorld2.gif

Anyway. That’s all the major and interesting stuff I got done this week. I’ll see you next week where hopefully we will be able to show off some levels for the second world! Until then, take care.