Author: Eric

<3 Hey Team Bueno Fans,

So an update:

• Though it breaks a small section of our cardioid muscle, infinite jump is gone/fixed. He jumps like a normal man now. A normal hunterman.
• Normal hunterman jumping means normal hunterman-friendly environments. The first two levels have been augmented to accomodate for his lack of ups.
• Sprites are being reconsidered, and ways are being made in terms of narrative/plot: we’re thinking that if there is a deer, it will be one that travels near to you, though not companion style. There will be various characters you will interact with/can talk to
• The bow will shoot! killing things lets you decide how the narrative develops as you visit and revisit areas
• Meow

 

Eric and Bueno’s 2 proposals for a final:

In Search of Season Redux:

Adapting the original game with some changes:

• In each new area/zone, a deer is presented to the player in a cut scene, and then runs off; the player is never fully able to catch the deer, but it is the primary motivator in traveling.
• There will be other people/entities throughout the forest to talk to or otherwise interact with
• No more infinite jump

We hope to make it into a prolonged experience of space and time.

Graphics/visuals are the same

 

Stained Glass

In this game, you play a human searching for enlightenment through means of an alien-worshipping cult. You are sent on various menial tasks (finding followers, collecting money, spiking koolaid) in order to achieve your goal. The setting is a series of stained glass windows that reference your actions and the cults ‘beliefs’ symbolically. You progress by moving vertically up the window, getting closer and closer to enlightenment.

The first stage of the first window (depicting the issue of pollution/opposite of enlightenment). A high priest tries to spark a conversation with a non-believer.

 

 

 

A non-believer

A high priest

 

 

Overall level design/layout

Hey Hey!!!!

this is the link to the gmk for my game ‘In Search of Season’ with slightly-editted music from The Ethnographers

it has been updated: better pixel ratio, and new content and continuity features!

left and right to move, up (however many times you want) to jump :]

make sure to right click and download the linked file.

in the future/with more time, I’d like to add more seasons and years.

enjoy!

So for my GameMaker game, I want to make a really simple plat former/side scroller. You’re able to move left, right, and able to jump. You have a bow, from which you can fire arrows; there are no enemies, but the arrows you fire become platforms. Essentially, there’s no real puzzle or huge challenge in it; you just go through and explore the places. When an area is completed, the character is taken to one of a completely different season, sometimes a similar place, but possibly different. The seasons/weather will be a variety, from temperate, snowing, storming, raining, fall times, etc. We’ll see how many of those I actually get done.

The soundtrack is from the instrumental/soundscapey tracks off The Ethnographer’s Dry Season, tracks I, II, III, and IV; The game is inspired by the album as a whole.

Here’s the first area!

Transit

I’ve often considered how games are an escape to a fictional adventure or journey, but this article has shed new light on the subject. It’s an interesting look into human desire when we consider how a virtually running or driving through a countryside in the convenience of our homes is more sought or desired than physically making a long, tiring, uneasy journey (for some). The ‘thrill’ of a sandbox or open-world game is giving the player complete agency in how they traverse and experience the virtual place; but we have that in real life… We must still consider that not all games and genres provide a similar ‘journey;’ considering those that provide instantaneous transport to continue an action-heavy gameplay.

 

Narrative Environments

In the context of the “Transit” reading, the explanation of what provides a narrative place assumes a particular meaning; that is, not just when a place has a narrative history, but when it can be explored and experienced in a thoughtful and slow manner, is it a narrative place. The topics of community and identity bring up the facet of immersion which is present in MMORPG/MMOG’s: The simulation of exploring a space becomes more personal and the player’s involvement/dedication to that space grows as the experience as a ‘resident’ and not as a guest. This is something not provided by various sadbox games where one assumes the role of one main character.

meow! click it up!

 

 

 

 

click meow

For my third assignment, I want to create the environment of a dark, rainy, industrious city. There won’t be a problem/puzzle solving style of progression, but the player will be able to interact with different objects in the environment. The interactions will be abstract/fantasy happenings (i.e., you click a wall and glowing spheres mapped with the wall’s texture float out, you click a faucet and unidefntifiable wisps come one), where nothing is really obviously interactable. The player will be able to navigate through the environment at will, all interactions are aimed at giving the impression that the city is living or constantly moving (maybe even having some parts in a cyclic motion). As it progresses, the player will zoom out and the city will be revealed to be one giant, living organism.

So for our arcade we want to work with the game Biplanes found here. Wanting to do a typical 2-player arcade feel, the box will take the classic shape… For controls, we want to take the images of the planes from the game (made out of wood for a nice feel) and attach them to 2 direction/rotation sliders. Left and right would be accelerate/deccelerate, rotating would rotate the plane in game.

Also maybe team up with Bueno and Nathan based on what they’re up to <3

The game:

 

 

 

 

 

 

So maybe luftrauser now? not biplanes

 

 

The Set-up (inspirational):

Jerald and Kohler Escape from Zombie Prison!

Jerald has been in his cell for a little over a year, still without a clue why. He is a scrawny man of timid nature and ambiguous racial identity. He finds himself in fits of anxiety and self-disappointment, but is always comforted by Kohler. Kohler, who you play, is Jerald’s best friend and cell mate; you’ve been in that cell since you can remember, and have made acquaintances with all of its residents. Jerald is the only one who’s ever spoken to you, however, because, well…. You’re a toilet seat. And Jerald is clearly out of his right mind. One day, Jerald awakes to the discomforting sound of flesh-munching. He quickly realizes the zombie apocalypse is upon the earth, and it has started at this very prison. As Kohler, you must guide your dear friend towards escape and salvation.

Example conversation:

As Jerald awakes and comes to grips with the situation, you can converse with him to change his mindset towards:

• Optimism, terror, confidence, apathy
• Tell him to stay in his cell for safety
• Take you and bust out of the place

As he is his own man, he can decide not to listen to you; filling him with confidence may make it easier to convince him to break out of the cell.

Throughout the adventure, you may meet other prisoners who are not yet zombies, have to fight through the hordes while Jerald uses you as a weapon, so on and so forth, all the while guiding his actions and conversing with him to influences his effectiveness/decision-making.

 

 

 

 

Sonance

You play Sonance – the lead vocalist of a local post-hardcore band turned superhero. Because of your vocal and physical prowess, you are the man that the HCPD (Harlot City Police Dept) trusts to get the answers they need while keeping their hands clean. Every interaction with a suspect/inmate/criminal/mobster will have the same four options:

• General Question (WHERE ARE THEY!?!)
• Accuse them of lying (DON’T LIE TO ME!!!!)
• “Convince” them to answer you/Intimidate (TELL THE TRUTH!!!!!!)
• Interrogation/Action Move (break his wrist… etc).

Yes, if you were wondering, it’s almost a play on the overdone but effective Batman tactic; I do plan on changing it sufficiently to make in original, and the dialogue options will change between every interaction.

Every person you interrogate/question will reveal their personality through how the react to your presence and choices. Based on what kind person you discern they are (sociopath, tough guy, coward/rat/squealer) you will choose the best options to get what you want. A coward may not last long/get knocked out if you beat him up to much, but may respond well to lots of yelling and intimidation.

The story may progress linearly (the more successful interrogations, the further you get into figuring out what is happening/who’s in charge/ etc).

Example:

You are told of a small businessman who works for a mob boss who is smuggling drugs into the city. You meet him in an alley way at night, and pin him to the ground with your NetGun. He’s not too tough of a guy, and is already wetting his pants. Punching his chest will cause him to faint, but asking questions and accusing him may work wonders to get what you need. With the info he gives you, you know your next target will be the head of a local shipping and transit corporation.

LOL emo hair