I’ve been quiet since the holidays, but it certainly isn’t for lack of activity. For my day job, February marked the release of Brass Tactics, a real time strategy game reinvented for VR headsets. The creation of Brass was really a fascinating adventure, one of the most interesting and invigorating creative challenges I’ve had in a lot of years.
Oculus gave us pretty much carte blanche to recreate a real-time strategy game that took advantage of the Rift platform as well as the Touch controllers. This allowed us to kick off the process with a delightful freedom on how to make the controls of an RTS feel tactile and engaging. We started with crazy-woop-woop-nuts ideas, but honed the game down to something that felt familiar yet fresh.
I’ve written a couple of blogs about this process on the Hidden Path website: The first blog post talks about our discovery of how we wanted to represent the world and how the player might interact with it. We started from a very wide set of possibilities that explored how to show the most information to the player with the most comfort. What we ended up with was quite clean, and felt comfortable for most people. Here’s the first ugly prototype reel.
The second blog was about how the player interacts with their troops, both selecting them and issuing orders. This seems simple but we went through a long process to figure it out. What we ended up with feels familiar, like using a mouse, but definitely embraces the physical nature of Touch. Directing your troops becomes like being a symphony director calling out orders fluidly, a dance that makes war happen. It was an achievement that we’re very proud of. Even more ugly here!
I still have one more prototype video that I need to accompany with a blog post. Luckily the pressure’s been off lately so I’ve been able to get back to working on Auto Fire. I’ll try to update y’all with where that’s been going shortly.
We have a New Year’s tradition among some local friends of playing the Talisman board game. This is no casual gathering, but an all-out annual quest for questing… with nearly every expansion the game becomes a behemoth that barely fits on the dining room table. The Monopoly-like board of the base set is extended in every direction with dungeons and towns. Tiny little special encounter and item decks are stacked everywhere… The main adventure deck, swole with expansion cards, is so massive that we break it into three piles so it won’t topple over.
There’s a delightful insanity to Talisman’s hodge-podge of fantasy themes, like Tolkien and Gygax thew up in a Milton-Bradley factory. Werewolves. Faeries. Dragons with swords for scales. It’s also completely unbalanced and random as hell. Did I say it’s the best game? It’s also the worst game! Every roll of a six-sider or draw of a card could result in a game-winning boon or a soul-crushing return to square one. And the behemoth keeps growing… people keep buying new expansions, so by now a game takes at least six hours… Hence the once a year tradition.
Jim, the owner of this pile of cardstock insanity, was looking for ways to make these evenings of hilarity even more memorable. How could we make Talisman even worse? The answer was clear: Pay to Win.
Pay to reroll a die! Pay to stop on a square! Escape a dungeon! Cheat death! We embraced the pain and proceeded on our long evening of questing.
The game was just as random as ever. People would gather massive arsenals of equipment, just to be turned into a toad and drop it all on the ground. Talismans (Talismen?) were gained both through mighty deeds and by randomly tripping over one. The dragon fight at the end to gain the Crown of Command was the usual madness, and as usual an unbeatable card combination helped seize the day.
I gotta admit though, all these little one-dollar kicks to the privates actually made Talisman a bit better. We could fix our random failings. Sure, sometimes we put a couple bucks in and got a worse result, but that was part of risk-reward. Around 2AM we staggered home, some 30 bucks filling the money jar, paying forward into the next game night. However, I’m not sure how we can top this next year: Loot boxes?
It’s been a crazy autumn. My work life has been crazy in the march to polish Brass Tactics for its February 22nd release date on Oculus Rift… The game was supposed to come out in October (and we were ready to go) but Oculus wanted to pay us to add some more pizzazz and customization features… Who were we to say no to that? As a result, we have more levels, a big helping of new units, customizable loadouts and unit colors, and the game is looking a fair amount better because we were able to refine our UI, lighting and materials. Pretty cool, but things have been a bit nutty.
Among all this, my wife and I headed off around Halloween to Australia and New Zealand for our 20th wedding anniversary, which was a blast. A couple weeks later things got weirder, however, as we hosted some friends for Thanksgiving dinner…
For some of the meal prep I was using a brand new mandolin slicer on some potatoes for a delicious potato dish. And those things are really sharp… As in, I sliced off two of my fingertips. Doh.
I guess it takes about 7 weeks to grow fingertips back… The human body is pretty amazing. (Or maybe I’m part lizard.) In the meantime, typing is kind of a pain in the butt… which is irritating because the 11-day holiday break is always the absolute best time to get coding done. I hope to be back in the swing of things (with still bandaged fingers) a little after New Years. Dammit.
It’s funny how I spent all this time to create a prop distribution system, created tiles and various features to randomize and space out various tiles but never have the time to really find good models to populate the map with… so sometimes I play on a fairly empty map.
I spent the morning digging up some reasonably non-terrible assets to build tiles out of, and the results are luckily pretty good:
The problem is that whenever I’m doing visual stuff I’m both happy because things look better, but I feel guilty that I’m not working on function… Back to work!
Auto Fire is continuing to look better these days. I got rid of the object-based fogging and returned to the old-school concept of putting a 2D plane between the camera and the world. You’d think it would look obvious but with a little fancy math I can scale and position the plane so that users are (more or less) none the wiser. I was able to add some perlin noise and give the fog two colors (defined per map) that makes everything smoother and more pro.
I put more effort into the overworld as you can see above. Those roads are generated now, as well, followed by a smoothing step that places the correct road tiles in the correct locations. There are still a few specific intersections that I neglected to create tiles for (mostly diagonals to other diagonals) but the overworld is now guaranteed passable and locations have roads between them. The roads make the overworld far more simple to navigate and find out-of-the-way locations.
I still have to finish off some of the world connections and then optimize the hell out of the world generation (currently coming in at 15 seconds) but it should be pretty quick and easy to trim all the low-hanging fruit (I don’t cache the passibility of each tile yet when calculating paths for example). Always more to do…
Dang, I guess it’s been a few weeks and mostly I’ve been working on more of the inventory system. I managed to get the Garage working fully and now they appear on the map as places you can load out your gear, repair and refuel.
Working on infrastructure for this long gets a bit taxing, so I wanted to switch over to something more visual for a palette cleanser… so I chose to noodle around with Fog of War (not the most fun thing, but better than weeks of UI noodling).
Nerd Alert inbound!
My Fog of War (that is, how I represent areas of the map you haven’t explored and/or can’t see) is currently implemented tile-by-tile. I implemented it by creating a custom shader that fades out the individual tile models based on a fade value I feed each one. This has a few drawbacks:
The edges are hard and look a bit amateur as a result.
The fade currently goes to black, which is fine for dungeons but not appropriate for all my above-ground venues.
(Large areas of black also look a bit “cheap” on 3D games, although that’s my own personal bias. 2D Roguelikes somehow look just fine with the very same thing, however!)
I can only fade per-mesh, so in order to support height-mapped terrain meshes, I’d have to write some wacky shader to handle it.
I have to put a custom material on every model, and write a shader for any weirdo material tricks that a specific mesh wants to use.
I did some experiments with non-black fade colors, which didn’t add a ton of complexity to the shader but still emphasized hard edges. Also, I had to turn off screen space ambient occlusion (SSAO) to make it fade to the pure color, which is something I use for my terrain features to “pop” a bit more. Not a huge loss, but it only reminds me about how my technique is impacting my rendering and asset management.
In the end, I’d like a fairly “soft” (and in my opinion, more pro-tier) representation of Fog of War. For most 2D Roguelikes, the common technique is to place a huge planar texture between the camera and the world and draw areas of black and transparency over it to obscure undiscovered areas. I had steered clear of this technique because my terrain is 3D and my camera is a perspective projection with a viewing angle of about 35 degrees… this causes the Fog plane to parallax (obscure different areas based on the viewing angle)…
However, this can be solved with math… I can scale and offset the fog of war plane to match a fairly flat map, so I’m going to try it out. Granted, using a plane will fail if the player ever drives up a hill (which is something I support, but only use in a few locations), but I think this technique should do well for all my current combat areas (not the adventure ones) for the short term. Will see if I can get it rigged up tomorrow morning before work. Wish me luck!
The Seattle summer has finally gotten into full swing and it’s harder to stay inside, but in spite of this I’ve pulled together some time to work on Auto Fire’s core player systems… and this involved a lot of time with Photoshop and Word as well as with Unity and Visual Studio.
As a rule, I design in a a very top-down way… Visuals, mockups, and models are very important for me to get my head around the design as well as to communicate it to others for feedback. My objective with Auto Fire was to keep the spirit of the deep car customization from games like Car Wars, but to streamline it for a smoother play experience.
I was a huge fan of Car Wars back in the eight-e’s, but building a car for the game involved a wholllllle lot of pencil lead and eraser nubs…. like, blackened rubber crumbs all over the damn place. Players had to choose their body style, chassis, engine, tires, armor, weapons and equipment, all while balancing out limited space, weight and engine power to push everything forward. It was great, but it was a solid half-hour (more or less depending on your experience) to make a good build… If it helps you get a feel, think of the time investment of rolling up a new pen-and-paper character or, say, building a new Magic deck.
Incorporating mechanics for hardcore things like weight and spaces wasn’t impossible to pull off, but things like switching out weapons or changing gear can feel like something of a chore… I felt I could do better. For years and years now I toyed with the idea of applying a Diablo-style inventory grid, perhaps combined with the damage grid system from a number of FASA titles (I personally was a fan of the Renegade Legion series). The idea had some promise, in that players had to find space on their vehicle for various weapons, and make tradeoffs to clear space for special equipment, huge engines, or cargo. In addition, damage could be allocated square by square, penetrating into the car and damaging components as it reached them.
Being a top-down designer, my preferred way to hash out problems like this is to mock up the interface, move parts around, and visualize how it will feel for the player. As I played with the parts I started to realize that applying “damage templates”, is really a kind of magic made for pencils and templates and the tension of rolling locations and hoping the template doesn’t include your driver or engine. In a digital product where you don’t color in the squares yourself, it threatens to descend a bit into indecipherable noise. In addition, when rearranging a car into different configurations, the spatial rules of vehicles started to clash with the system… often the only extra room for a driver or engine was in the back corner or something. It just didn’t feel like a vehicle the way I wanted. Finally, I really wanted to incentivize the player to socket in new equipment as it is encountered, acquire new cars and choose various ones to meet the specialties for specific missions. Ideally buying a new car gets you more than just a new set of numerical stats and grid layout. “Vehicle loadout Tetris” still fascinates me and I’d love to try a PnP version of it or implement it into a arena-based game, but I’m steering away from it for this particular project. (See what I did there, wakka wakka).
Sooooooo in the end I went back to something a little more akin to decking out gear in an RPG, but there are some nuances that I believe will feel fresh when applied to vehicle loadouts. When decking out a vehicle, the starting point is always the Chassis. This is the body that everything else is built upon… The player can acquire them at car dealerships, receive them as mission bounty, or salvage them in the wilds as loot. Each chassis has some base stats that any equipment will modify, such as handling, armor, and fuel capacity. It also has some built-in equipment as well as slots that can be customized… Each vehicle body ultimately sports a fairly unique configuration.
Some chassis can sport large engines, but have limited handling. Some can hold huge amounts of armor, but can only mount a large tank weapon in the front. Some might have a turret mount, but the armor cannot be upgraded. Some have a slower engine that cannot be replaced, but can haul an amazing amount of cargo.
Chassis and equipment can be found with mods that add additional bonuses and abilities that make finding loot interesting. Weapons can be placed on any side of most vehicles, but heavy weapons need special mounts to be used, and turret slots are fairly rare. Ram Plates can have explosive charges or sharpened edges for added effects. Engines define a vehicle’s top speed, but it can also have acceleration benefits or a larger fuel capacity. Tires can improve handling, but they can also resist damage from spikes or add to stealth properties. An Armor Frame can boost a car’s armor, make it fireproof or laser-reflective, or even add mounted blades to slash on-foot enemies when driving adjacent to them.
Cargo Capacity is one of the most important reasons for players to change up their rides, as each chassis has a different number of cargo slots. Most found equipment can be picked up without concern for weight or space (again, I didn’t want being out in the waste recovering gear to be a hassle), but cargo slots are used to hold major items for courier jobs like scientific gear, or priceless art, or passengers. Rather than always running at capacity, however, a smart Driver may leave an extra space available in their vehicle during a run. This way they are prepared in case they run into special salvage out in the wilds, or a civilian who needs transport to safety… for a hefty price, of course. And if you find a crate of priceless military tech as you pick your way through a wrecked convoy and have no room…? Well, you can always kick that sorry bastard to the side of the road to make space.
So all of this has to come together into a playable whole, of course. I’ve got a lot of the core systems and definitions together for dozens of pieces of gear, but the next step is to implement the garage interface where players can buy and sell equipment as well as reconfigure their loadouts. And there’s much more to do to make sure that decking out your car is as interesting as it possibly can be. It’ll be an interesting summer.
E3 has hit once again and with it we’re seeing a new raft of games punctuated by the return of a favorite series of mine: God of War. But wait I’m sensing a trend over the past few years in game controls and setting:
So I love free-roaming adventure and I’m a fan of over-the-shoulder third person controls. I’m also unbelievably thrilled that lush landscapes are possible in modern games and that we are past our “green and brown” stage. Vegetation punctuated by ruined structures can be endlessly fascinating to explore.
However, the first three God of War games were pretty rad in their settings and control scheme. I’m sure I will play the hell out of the new one. But I do like it when not every game evokes Sky-Zero-Charted-Cry-Raider when it comes time to make another one.
Ironically, the lush greenery used to be the exception, not the rule… la différence. Now I’m totally interested in what never-seen fresh place games will take us next.