Stop the Presses

In a little over a week, I will be attending the annual Game Developer's Conference (aka GDC) in San Francisco.  This will mark my third year attending, but it's the first one where I'll actually have a commercial game to promote.  I was on the fence about going for a while, but finally decided it was worth it for that reason. 

As such, I am most likely going to be talking to the gaming press about A Golden Wake, which is both exciting and terrifying.  I'll do my best not to come off like a complete goofball.

A Golden Wake Updates

I've realized that lately I've talked lots about game design, but said very little on the status of A Golden Wake.

Well, I am pleased to say that the game is fully playable from start to finish.  That is to say, it's in an early alpha stage, still missing several art assets like animations, backgrounds, and character portraits, as well as music, sound, and voices.  The bulk of the design work is over, now it's just time to go in and make final tweaks, as well as add all the bells and whistles.

Also, I'm extremely happy to announce that the game has been signed with a publisher, which means it will actually be up for sale at some point in the future.  An official announcement will likely be made in the next couple of months.

Exciting times!

Happy New Year

It's been a while, hasn't it?

First off, I should admit that I am a big fat hypocrite.  In the last post I said I wasn't going to go back and redo my character portraits, and then guess what happened?  I learned a better method of doing them and sure enough, I went back and started redoing them all.

Normally, I would frown upon this sort of behavior and ask myself what the heck I was doing, but taking a step back and looking at things objectively, I feel this has been the right decision.  The way they looked previously wasn't awful, but there was a lot of room for improvement.  If A Golden Wake were freeware, I could have left them as they were with no problems.  Since I plan on selling it, I feel I need to raise my own personal bar higher and make them look the best they can within my abilities.

So what exactly did I do?  Basically, I adopted the same method I use for my backgrounds, which is to say I draw them at double the size they are in game, then scale them down.  Combining this with the methods I was shown about gradient maps really allows for a lot more detail and shading than drawing them at game resolution.  A bit of detail is naturally lost when scaling them down, but I feel it's a sacrifice worth making.  Another benefit is being able to make portraits based on real people actually look more like those they're meant to portray.  

Doing portraits at a higher resolution also meant having to make a tough decision: animate or not?  I've always had animated portraits in my games, and even lip sync in the later Ben Jordan games, but unfortunately it's extremely time-consuming to animate higher resolution portraits and make them look good.  So in the end, I decided to abandon the animated portraits.  I'll still have different facial expressions, but no moving mouths or blinking.

So here now are some examples.  Looking at the old versions makes me laugh.

The Artist's Struggle

There's something which has been happening to me lately.  Something that is both a blessing and a curse.  It might happen to you, too, if you do art for your own games.  It's something that needn't be feared, though it is a very easy trap to fall into, and, if your will power isn't strong enough, it will consume you completely and might even cause your project to be delayed, or worse still, never finished.  What is this horrifying phenomenon, you ask?  I'll tell you: it's getting better at drawing.

I know, I know, you must be thinking, "how is getting better at drawing a bad thing?"  I'll be the first to tell you that it isn't.  Improving your art is a great thing.  Growing as an artist, or programmer, or writer, or any other facet of game design is truly rewarding.  You can look back at your previous work and you smile to yourself, pleased in the knowledge that what you're doing now is miles beyond what you thought looked good in the past.  There's just one small problem: what if that previous artwork is comprised of several backgrounds in your game?

We all know making a game takes time, especially if you're doing it on your own.  If you get better at art, it might cause the stylistic consistency of your game to change.  What if you learn a new technique or trick for lighting backgrounds?  You feel it looks amazing, but when you look at your previous work, you realize it would benefit from said technique, so you go back and tweak everything to achieve some sort of similarity.  That's all well and good, but where do you draw the line?  If you have to go back and redo everything every time you learn something new, you'll be improving things forever, and your game will never get done.

This has happened to me already with backgrounds in A Golden Wake.  There are some scenes I've tweaked 3 or 4 times since I drew them just because I've learned something new and want to make them look their best.  Same with the character portraits.  I even posted on this blog demonstrating the new technique I learned.

The other day, I tried yet another technique for character portraits, and I feel it makes them look way better than what I've been doing so far, but here is the dilemma: I've already got 31 characters in the game, and 95% of them have portraits, and most of those are already animated.  So is it worth going back and redoing them all?  At this point, I say no.  I am drawing the line, and leaving this new method for my next game.  Will I look back on A Golden Wake and wish I'd redone the portraits?  It's a strong possibility, but I'd rather have the game finished and out within the next year than delay it for who knows how long just because I wanted to change something.  Who's to say I won't learn something in the meantime that will make things look even better?  To get caught in that cycle is definitely not worth it.

More Painting Practice

Last night I finally managed to finish cobbling together Chapter 2 of A Golden Wake.  This involved several placeholder backgrounds which, to be honest, left me feeling somewhat anxious.  The reason for this is because they are set at a very fancy and opulent location, which is going to require an immense amount of detail, and my insecurities came out and made me think that what I wanted to achieve was above my skill level.

Luckily, I have the very talented Sergeant Sweets Tin aka Ben304 to help me out.  Up until recently, his internet didn't have sufficient bandwidth for more than speaking on Skype with voice, but now he is able to share his screen.  Therefore, I have been able to watch him paint.  He's been kind enough to share techniques with me by telling me about them, but watching them in action is much more helpful.  Just today I watched him do a speed painting which was extremely informative, and I think will help me out tremendously with regards to these complex backgrounds.

In the meantime, I went back and touched up a few existing backgrounds yet again, but also decided to practice a bit and do a speed painting of my own.  The result was this:

Still have a ways to go, but I'm pleased with the tree at least.

   Also, for fun last week I decided to redo a background from Ben Jordan 3, but today I revised it a bit and made it a bit more spooky.

No more burn tool!

So basically, it's all about overcoming that mental block where the little voice inside your head says, "no, that's too difficult, you'll never make it look right."  Practice is the best way to silence that voice, because he's an asshole.

Moving Around

I haven't updated in a while, mainly because I've been in the process of moving.  I've finally more or less settled into my Brooklyn apartment, and as of last week have been able to work on A Golden Wake again.  It was really a bit disturbing how antsy I got after not being around a PC to work on it for the better part of 3 weeks.

So, this brief update is just to confirm that things are back to normal, and production will be full steam ahead.

Character Portraits Part 2

As of the last post, Eric Feurstein (aka Mr Colossal) was kind enough to show me some Photoshop tricks which have greatly helped with my character portraits.  The day after, I also attempted another speed painting portrait in high res, but this time using a photo for reference for the face so I could get the proportions right. 

This guy was the result.

I was much more satisfied with the look, but I still have a ways to go.  Practice makes perfect, after all!  As far as the trick Eric showed me, I spent yesterday redoing all the character portraits in AGW, basically tweaking them and making the color ramps less flat.  I'm extremely pleased with the result, which, although subtle, I feel makes a world of difference.

Alfie Banks before.

Alfie Banks after some color tweaking.