Tag «GGJ»

Global Game Jam, once again

Hey! As you might have noticed already, since December the Rat King is back in Germany, after their long trip to Brazil. It was a very event- and insightful stay, and we are glad that the Kunststiftung Saxony-Anhalt and the Goethe-Institut in Salvador de Bahia offered us this opportunity.

The big elevator in Salvador

While we're back at working on various stuff, including contract work, we also prepare for the upcoming Global Game Jam in our city. Just like last year Friedrich is going to organize a GGJ site at the Designhaus Halle, and if you're around from 31st January till 2nd February you're invited to take part!

Last year we were around 15 people, which is a nice cozy number, and we hope for a similar, if not higher amount of participants this year. Someone even created a board game within the 48 hours, which was one of our highlights.

Global Game Jam 2017 – Post Mortem

Global Game Jam 2017 - Hands Off Thief

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In January 2017 Jana and I were part of the Global Game Jam, as usual. We had some doubts we'd do it again in Leipzig, because every year it gets a bit harder to wake up in the HTWK (the university where the jam site is located) without a shower or hot water at all. Yes, we're getting older. Our plans went back and forth between not going at all, or driving back home for the nights, or getting an AirBnB. In the end we did it as always.

Thankfully! Commodations aside, it was a very nice experience. A few days before we made some key decision for our jam entry, especially the choice of target platform: VR. As we don't own a full-blown HTC Vive or so, we made a Google Cardboard game for Android. I think it turned out quite well, because it was doable in the scope we aimed for, even though it was our first VR game.

The theme itself ("Waves") wasn't very interesting, but it slowly formed the direction of our game. When we began to think in terms of sound waves, we soon decided that some radio in our game would tell the player what to do. So you'd be in some kind of labyrinth, trying to find that radio by searching around and listening to its noise, and then activate it, because it tells you how to reach the exit. This became less important later, but it's still in the game. So while we don't feature "waves" promintently, the game was definitely inspired by it.

One of the first WIP screenshots

What we have now is an atmospheric stealth game where you play some thief or treasure hunter in a haunted mansion. You walk around, steal things (mostly valuables), evade scary ghosts, use keys, and find the radio and the exit. As the game is a Virtual Reality game, the player's movement is restricted to gliding between square floor tiles in cardinal directions. This is very similar to my Ludum Dare entry Wood for the Trees from last year, but this time the limitation was imposed to us because of the nature of VR games. Free movement was out of question, and a typical "magically beam to place" approach could have been a bit too complex for our first 48 hours VR game. In the end, the limited movement also helped to define the simple but effective behaviour of the evil ghosts, which don't follow you but patrol between the rooms in the same manner as the player.

As usually our games have a somewhat high entry barrier, one of our goals was to simplify controls. With a VR game this seemed easy to do - you don't have much different input methods anyway. All you can do in our jam entry is looking around and take stuff by looking at it for a short time, which is why Jana had the idea to name it Hands Off Thief, as you steal without using your hands... Initially I planned to have the same approach for walking around the rooms - an arrow on the floor tells you if you're allowed to walk into that direction you're looking, and if so, looking at the arrow for a short time moves you to the next room. But it turned out that this is a bit awkward, as you'd always have to look down to walk around. Now players have to activate the trigger (i.e. touch the screen of their phone) when the arrow is shown, which feels a bit more natural.

I prepared by reading articles about VR development for mobile platforms. It was helpful to know that there are some heavy restrictions regarding drawcalls and polycount in order to maintain 60 frames per seconds on a phone. This way I wouldn't be surprised by bad performance at the end of the jam. Thus, from the beginning the Unity project was set up to use cheap vertex lighting, and I programmed a simple occlusion culling i.e. only the room you're in and adjacent rooms get rendered. We also tried to minimize the amount of different materials for everything.

The first thing we did when we started the development was trying to find out how big the virtual rooms should be. Several hours went into discussions if the walls are too near or too far away, if the ceiling is too low, or if the texture scale on the floor is okay. Probably not everything makes sense in the final game; some things were kept for the atmosphere. Especially the lighting was a bit of a headache, until we went with strong darkness and the player having a point light at their center. Every ghost has two lights - on for his current position, and one for the target position. This way, a player can predict if the ghost soon will be floating towards them. And from time to time a lightning strikes (even when there's no window), so there should be enough to see anyway.

Of course we had some help! When he wasn't sleeping Björn Grunewald created some 3D models like the loot, and my brother Ludwig 'KingLudi' Hanisch - as usual - agreed to compose the music. Ludwig was in another city, and when I sent him some screenshots it was very late, so I wasn't sure if he was still willing to do it. But he sent a nice track in time. Afterwards he wasn't content with it, as it didn't quite play along with the visuals. The problem was that Jana and I were late in defining the atmosphere and couldn't send him a meaningful video, so he only had the screenshots with bad lighting as reference. A few days later Ludwig sent us a new, much more eerie track which fit perfectly, and I updated the game. You can play this new and better version by downloading the APK on itch.io.

Overall the Global Game Jam was cool; you might also want to have a look at the other games created at our site in Leipzig. By the way, one aspect I learned to dislike about the GGJ website is that you cannot edit your entry afterwards. I understand that they wouldn't want people to fake their entries, but it would be nice to be able to offer patches, or just add stuff you forgot.

We also might choose to register a jam site in our own city next year, because we found some potential co-jammers!

> Try Hands Off Thief here! <

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How to make an AAA game in 2 days

Before the Global Game Jam 2016 started I gave a short talk about how to make an AAA game in 2 days (as the GGJ is 48 hours long). Of course I have no idea how to make an AAA game, but I thought that sounds more interesting than "How to polish your game in a day". So yeah, it was just about giving a jam game that small bit polish so it wouldn't look that much like a jam game.

I started by talking about some experiences I made years ago: how 2K contacted me as they had this new game - Assassin's Creed - and they already worked a day on it. Their prototype consisted of the protagonist Günter (or so) walking around. But they didn't know how to make it any better. That's why they consulted me. And here is what I told them.

First I noticed how the movement wasn't very smooth, and I showed them how to use tweens so the player character would look professionally animated, even though it was a single sprite. It was a bit of a pain, as tweens need careful coding. For example, as long as the player is tweening, don't let the user change the direction, and so on. But all the sweat paid off.

How To Make An AAA Game In 2 Days - Part 1 - Tweens

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(If you use Unity, don’t use iTween. DOTween and LeanTween are quite okay, though!)

Afterwards, I explained how the same applies to the camera: the more movement is there, the better. We all know how cool AAA games use tracking shots for everything. You can do the same! But using Lerp() to make the camera somewhat smoother can be tricky, as sometimes the player can be too fast and not see where they're going. This is why we add some kind of foresight. This talk from the GDC 2015 can be helpful, even when not doing a sidescroller.

How To Make An AAA Game In 2 Days - Part 2 - Camera

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Apparently the original AssCreed had some teleportation mechanic, but it looked bland. I advised Lionhead to add some transition effects. Those can also be useful when the player gets hit - just color the screen completely red!

How To Make An AAA Game In 2 Days - Part 3 - Transitions

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My game Snakoban has another kind of effect for changing levels. It was a bit of work, but everything is better than just changing screens without any transition.

Snakoban

"Never forget to shake the screen," I told the AssCreed developers. "And of course, use particles everywhere." Every new particle in the game is another step to AAA, as they give instant feedback to the user that something is happening or has happened. And they look nice, too, so even as pure decoration they are useful.

How To Make An AAA Game In 2 Days - Part 4 - Particles

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Our very own game prototype Power of Love has trails for the player characters. It looks cool, because it adds the illusion of velocity, speed and fast movement.

Power of Love

Even with all the improvements so far, Blizzard's prototype looked kind of flat. So I introduced them to the concept of layers - giving the player a shadow, even a simple one, already creates the illusion of depth. Having a foreground and a background with different scrolling speed ("parallax scrolling") is awesome too.

How To Make An AAA Game In 2 Days - Part 5 - Layers

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Although they already worked on the prototype for a day or so, they still missed the most important thing in a game (or any medium, really): emotions! Always take care your game evokes feeling. This is why we improved the story a bit, worked on the colors and chose a cool music that fits. (I think they changed the story later.) Anyway, humor is also cool, but I don't know much about that. It’s up to you, dear reader!

How To Make An AAA Game In 2 Days - Part 6 - Emotions

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Of course, music is great, but sound effects are needed, too. Just like particles, sounds add a lot to the feedback and the atmosphere. Foot steps, "ouch" sounds, you name it. Sound can even create things that aren't there! Want a forest full of animals? Just play a sound loop with rustling in the leaves and singing birds, and your graphics department can leave early, because they won't have anything to do.

How To Make An AAA Game In 2 Days - Part 7 - Sound effects

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Obi Wan gives a good lession, in this regard: it's only real if it has a sound!

Obi Wan and the sound of laser

For the final touch Crytek added simple light effects, to focus on the important things in the game (the player), and increase the atmosphere. Nobody could believe this was still the same game, just with a bit of bling created within a few hours. And we all know that Assassin's Creed became a big hit!

How To Make An AAA Game In 2 Days - Part 8 - Lights

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(You can download the "game" here. It was made with Monkey-X. The tileset is from Silver IV. The dust is from here. The first music track is by my brothers, the second one by Matt Goles. Of course, Assassin's Creed is a trademark of Ubisoft.)