Archives for posts with tag: madewithunity

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.

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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.

Untitled-1

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!

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, so you’ve stumbled onto my blog somehow. And probably you landed on a page about my game project Kana Quest. This is because for as long as I’m making Kana Quest I will be uploading a devblog of my process. However most of the devblogs are not great for anyone who doesn’t know what Kana Quest is…. which is you know…. most people.

SO! This is a quick primer on what Kana Quest is, and how it works.

KanaQuestTitleScreen.gif

So what is Kana Quest? Kana Quest is a puzzle game that’s a cross between dominoes and a match-3 game that teaches the Japanese Alphabet (Both Hiragana and Katakana). It will be released on Mac, PC, Linux, Android and iOS.

It is an educational game, but it is being designed to be a fun puzzle game first. This way, people who already know Japanese can still play and enjoy the game. Another key feature of Kana Quest is that there are no pop quizzes. A lot of educational games lean heavily on game-ified versions of school tests in the hopes that no one will notice.
KatakanaDemoThe main gameplay of Kana Quest revolves around Kana. The word Kana comes from the names of the two Japanese Alphabet; Hiragana and Katakana and basically means letter. In Kana Quest, the Kana have been brought to life and want to make friends. Its the player’s job to help them find their friends. Two kana that are next to each other will be friends if their names/pronunciation share a sound. So for example か (Ka) and な (Na) will be friends because they both have an “a” sound. The same is true for か (Ka) and く(Ku) because of the “k” sound. Once you know which Kana can be friends, you need to make a friendship group that includes all Kana in the level.
LevelDemo2For example. This level starts off with every Kana having at least one friend. But because these friendships don’t connect all the Kana into one group the level is not complete.

This gif also shows a couple of other important details. The flashing lines between Kana show that they are friends, and a sound matches between them.

 

Finally a quick description of the different mechanics currently in the game.

Blank Tiles: These can be seen in the above gif. These cannot match, but can be moved freely.

Stone Kana: Stone kana will match with other kana and must be included in the final friendship group but can not be moved. They have been turned to stone, you see.

MysteryTileDemo2Mystery Kana: These enigmatic Kana are hiding their true face. But their true identity is given away by who they become friends with. Unfortunately Kana who are hiding their true identity are not truly happy and must be unmasked before the level can be complete.

Slime Kana: Slime Kana do not have any consonants in their names. Slime tiles cannot move.But they can merge with other Kana. When they merge they change the vowel of any Kana they merge with. Slime Kana cannot match, but they are happy to help other Kana find their friends.SlimeTiles

And that about covers it. This primer will likely but updated over time as new content is added. If you have any questions please feel free to comment, and I’ll get back to you asap!

 

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.

World1to2

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.

 

World2WithParallax.gif

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.

So this week had one task. One job that had to be done. It was long, it was boring, it was tedious. It was implementing Katakana into Kana Quest.

Why is implementing Katakana such a chore I hear some of you wonder. Well simply because implementing each Katakana has a bunch of steps that are not at all interesting and when you times those steps by 46 (the number of kana) things get very boring very quickly.

So the pipeline is as follows.

  1. Create the sprites. (We talked about this last week as I was most of the way through making the Katakana Sprites at that point.)
  2. Set the image setting for each sprite.
    1. This isn’t too bad what I have to do is tell unity how it should process each sprite. How big the image is (pixels per unit), its filter type (point filter as bi-linear and tri-linear make pixel art look awful) and if its a single or multiple sprite image. Now all of the above I can do all in one go by selecting all the files at once, but below I have to do one by one, because Unity wont allow me to do this in batch. Finally I have to set the sprite size for multiple sprite Kana. So for each Katakana I had to go into the sprite editor and tell it to divide my sprite sheet how I wanted it divided.
  3. For each kana make an animation using the unity animation system.
    1. For the stone tiles this is easy. They are just one frame so its just a matter of dragging and dropping the image into a new animation. For the normal tiles this takes a while longer because I have to copy the animations seen on the Hiragana Tiles. But the big annoying part of this step is that I have a LOT of animations on the one object now. So much so that they don’t all fit on screen so adding a new animation took about three seconds of scrolling down the animation list before I could get to the “make new animation” button.
  4. Add those animations to the animator of the tile object, and then set up the logic of when to play those animations.
    1. So putting the animations into the animator is easy. Select all the files you want and drag them onto the animation screen. Setting up the logic has to be done one by one and is really tedious. Right click from where you want the tile to transition from and to (from all to each individual animation in this case). Then click the arrow that comes up and create the parameters controlling the animation. In this case, what is the tile’s hiragana number? Is Katakana enabled? And is this a stone tile or a normal tile. Rinse and repeat 92 times.
  5. The last step is to add a control for turning Katakana off and on. This was the last and easiest step. Now if the player presses ctrl+shift+k in game katakana will be toggled on and off.

And that’s the process. Since you got through all the technical stuff your reward is some gifs! Enjoy!KatakanaDemo

SoneKatakana

Another week another update. This week has been kinda slow. This is partly because I’m still slightly recovering from AVCon. The other reason is this week I’m working from home and I always find a way to goof off when I’m at home. (This would be why people have work studios).

That said I do have some fun stuff to show off. The first thing which I am personally most excited for is the background art of the second world!ParralaxTest2GIF.gif

So I am super happy with how this turned out. The biggest thing that is different between this art and the tutorial background is that this has been designed to not be a static image. I drew each part of this background on nine separate layers that will repeat. The reason I have done this is because for each world I want to be able to add as many levels as I want without needing to redraw the art. This was a problem I noticed vary quickly from the first background: that it was drawn for a specific number of levels. If I need to change that number later on, making my backgrounds this way will allow me to do so. So now onto some of the artistic decisions with the piece. So this piece is set in summer following on from the last background that was set in spring. The rice in the foreground is a dead giveaway for this. A couple of other fun things about this piece is that it was inspired by the town I used to live in (Asago in Hyogo Prefecture). Lots of stunning mountains, rice fields everywhere, and ever so slightly worn down buildings. A couple of small details on the buildings is on the announcement board I wrote “テオドの” which basically means “This is Theodor’s”. Yes I am capable of being that vain.

Next up is Katakana. Katakana is one of the three writing systems in Japanese. All the gifs and images shown previously have been of Hiragana. Hiragana and Katakana (mostly) produce the same sounds, but Hiragana is used for native worlds whereas Katakana is used for foreign words. I have planned to have Katakana in the game for a while. The reason is that mechanically they will operate the same as Hiragana and A LOT of people forget their Katakana. So usually what happens is folk spend a lot of time learning Hiragana, then they get to Katakana and are just sick of rote learning letters. So it was simply a matter of when I found the time to implement it. Its not particularly hard to put in, just time consuming. But the first step is getting the Katakana sprites done.

 

Well as of this week I have all the Katakana versions of the normal and slime tiles ready to go. Not gonna put them all up in the blog post because that just takes up space for no real reason. Haven’t got them working in game yet, but the sprites are done so that is one big step to implementing it.

The way it will work in game once implemented is the player will choose Hiragana or Katakana from the options menu. Then all puzzles will appear as they normally would with the selected letters. This way the player can practice the one they want freely.

Ok. That’s me for the week. I’ll see you all next week. Take care.

 

So the countdown to Kana Quest’s first public showing is in 7 days! So I’m desperately trying to squash bugs and get a few more things working before I show it in Adelaide in a week.

The first visible change this week is the inclusion of a Hiragana Table. I wanted to include this for Adelaide as its just a small feature that adds a lot of help for the player.

HiraganaTableGif

 

So that was the only major visible change. But loads of bugs got squashed this week. Here is a full list.

  • Fixed a bug where the player could still interact with the Kana Tiles after the level was complete. Thus causing layering problems with the end level screen.
  • Fixed a bug where the number of moves would not be displayed properly at the end of the level.
  • Fixed an animation in the tutorial that had a small faint line appearing during one frame that just looked ugly.
  • Fixed a bug where if you completed a level with a worse medal that you already had received it would over write the better medal.
  • Fixed a bug that caused certain parts of the UI to go away.
  • Fixed a bug that was messing with my title sequence preventing the logo from moving properly.

 

There are several bugs and quality of life fixes I need to get fixed before Adelaide however. They are:

  • Making tiles be counted as “seen” if the player doesn’t look at the tile but still completes the level.
  • Fix a bug which incorrectly displays the amount of Silver and Bronze medals in the level select area.
  • Create level requirements based on how many gold medals the player has received.
  • Create a “help” screen that explains mechanics in case the player forgets important concepts.
  • Fix the tutorial’s “next button” script so that the next button will complete the current piece of text.

That about does it for me this week. I will post a blog next week but it will be on Friday as I will be showing people Kana Quest on the Saturday and Sunday!