author: midnight_heist
location: right of Australia
Monday, June 15, 2009
Friday, June 12, 2009
presentation
my presentation:
The character is Calvin from Calvin + Hobbes because he represents the fourth dimension of play spaces, creating something from nothing. Like converting a plain box into a Transmogrifier, or playing hot lava with the carpet.
I needed a tutorial to introduce any new player to the mechanics and controls of the game.
This first environment is designed to feel organic, mimicking the real world. I gave it some light hearted music to give the player a feel for the mood of the game.
I have sound effects placed around the tutorial, like and audience cheer for when you pass an obstacle.
I have also added a number of extra interactive elements, such as the bear. When your character grabs him, he growls.
You need to interact with the environment in order to progress, like pushing a block to create a step.
When you reach the end of the tutorial/organic section, you drop down to...
the construction zone.
This is a conceptual game play element. Because the of the urban development, real world physical play spaces are shrinking, and the player can do nothing about it.
In the end it is the new virtual play space that saves the player.
As the player goes deeper into the virtual space, the organic curves fade and the user is greeted by an increasingly square environment with limited colours.
The beeping sounds that play is meant to represent one of the first virtual play spaces of Pong.
The player slides down deeper as his movement activates sounds that hint at virtual music.
At the first part of the blind course a bat (as they rely on sound) appears gives you directions. These are short because there is limited space you can type in.
For the blind run, you have to close your eyes, and only guided by the audio cues, to avoid tons of obstacles and finish the level.
boing = jump (x)
ding = grab (tap R1)
chimp = change direction (L3)
If you press the wrong action, the character loses a life by getting electrocuted. I chose the electric hazard because it gives off a faint sound, which while playing only by sound makes it seem more dangerous that it actually is.
The course is divided up into 3 sections: easy (green), medium (blue) and hard (red). The player knows when they have reached the next section, as a checkpoint activates playing a distinct sound.
As the course progresses, the obstacles get harder. The sound cues get quicker, the sections get longer, and the sound cues become more varied, for example having change direction while in the air.
I also added a part where a few sound effects are played, but have no effect on the game play. This is just designed to disorientate the player.
Success depends on the player's reaction time to complete the level.
I chose the show the blind run course's visuals for presentation purposes. If this was made for competitive players, I would cover up the course so they aren't tempted to cheat.
I would also lock the shortcuts and give the player the keys as they progress.
Play testing the blind course was hard because I couldn't see what was happening.
So for the most part, I played with my eyes open and purposely slowed my reaction time.
I played a games designed for the blind (like Metris - musical tetris), but they were too hard. One reason was that the instructions weren't layed out visually (with formatting or symbols) like usual games.
It is easier for sighted players to play these games if they can relate the spaces of sight and sound to one another.
If my level was made to be competitive, I would introduce the blind run mechanic with visuals, then cover the rest of the course.
The character is Calvin from Calvin + Hobbes because he represents the fourth dimension of play spaces, creating something from nothing. Like converting a plain box into a Transmogrifier, or playing hot lava with the carpet.
I needed a tutorial to introduce any new player to the mechanics and controls of the game.
This first environment is designed to feel organic, mimicking the real world. I gave it some light hearted music to give the player a feel for the mood of the game.
I have sound effects placed around the tutorial, like and audience cheer for when you pass an obstacle.
I have also added a number of extra interactive elements, such as the bear. When your character grabs him, he growls.
You need to interact with the environment in order to progress, like pushing a block to create a step.
When you reach the end of the tutorial/organic section, you drop down to...
the construction zone.
This is a conceptual game play element. Because the of the urban development, real world physical play spaces are shrinking, and the player can do nothing about it.
In the end it is the new virtual play space that saves the player.
As the player goes deeper into the virtual space, the organic curves fade and the user is greeted by an increasingly square environment with limited colours.
The beeping sounds that play is meant to represent one of the first virtual play spaces of Pong.
The player slides down deeper as his movement activates sounds that hint at virtual music.
At the first part of the blind course a bat (as they rely on sound) appears gives you directions. These are short because there is limited space you can type in.
For the blind run, you have to close your eyes, and only guided by the audio cues, to avoid tons of obstacles and finish the level.
boing = jump (x)
ding = grab (tap R1)
chimp = change direction (L3)
If you press the wrong action, the character loses a life by getting electrocuted. I chose the electric hazard because it gives off a faint sound, which while playing only by sound makes it seem more dangerous that it actually is.
The course is divided up into 3 sections: easy (green), medium (blue) and hard (red). The player knows when they have reached the next section, as a checkpoint activates playing a distinct sound.
As the course progresses, the obstacles get harder. The sound cues get quicker, the sections get longer, and the sound cues become more varied, for example having change direction while in the air.
I also added a part where a few sound effects are played, but have no effect on the game play. This is just designed to disorientate the player.
Success depends on the player's reaction time to complete the level.
I chose the show the blind run course's visuals for presentation purposes. If this was made for competitive players, I would cover up the course so they aren't tempted to cheat.
I would also lock the shortcuts and give the player the keys as they progress.
Play testing the blind course was hard because I couldn't see what was happening.
So for the most part, I played with my eyes open and purposely slowed my reaction time.
I played a games designed for the blind (like Metris - musical tetris), but they were too hard. One reason was that the instructions weren't layed out visually (with formatting or symbols) like usual games.
It is easier for sighted players to play these games if they can relate the spaces of sight and sound to one another.
If my level was made to be competitive, I would introduce the blind run mechanic with visuals, then cover the rest of the course.
highlights/lowlights
highlights:
-Experimenting further with the editor
-Basing game play elements on conceptual ideas
-Reading about critical gaming (navigation/paths, shapes, layers, folded level design)
-Making sound the primary element
-designing the spaces in the level
-learning about game design!
lowlights
-levels are easily broken, easy to mess up in the editor
-would have liked more time to work on the level + blog
-having to redo entire sections
-LBP editor not able to zoom out and see all of the level (I would have taken images, sketched paths/etc). Much more unnecessary space planning is involved because of this.
-Experimenting further with the editor
-Basing game play elements on conceptual ideas
-Reading about critical gaming (navigation/paths, shapes, layers, folded level design)
-Making sound the primary element
-designing the spaces in the level
-learning about game design!
lowlights
-levels are easily broken, easy to mess up in the editor
-would have liked more time to work on the level + blog
-having to redo entire sections
-LBP editor not able to zoom out and see all of the level (I would have taken images, sketched paths/etc). Much more unnecessary space planning is involved because of this.
gallery installation
Originally I was going to have the fatter TV outside, but the game looks so much better on the wide screen, so I think I'll just have it inside.
I'll run through the level explaining it, then people can play for themselves and attempt the blind run course to realise that they are hopelessly dependable on sight.
I'll run through the level explaining it, then people can play for themselves and attempt the blind run course to realise that they are hopelessly dependable on sight.
LBP programming: pros and cons
pros:
-visual language
-easier to find your mistakes (a missing comma/bracket would stop normal typed languages)
-fun! much more engaging because you use the character/avatar to fly around your level making things
-music player. This has been added to the game recently, before this was added, there was a constant humming sound that was rather annoying. With access to your own music this encourages you to keep working on your level
cons:
-not enough detail in in-game tutorials
-not enough kinds of simple switches (you need to make your own if/and/or switches, which is time consuming)
-a level editor for the computer/mouse would be a LOT faster. This is how the creators made their levels, so it is harder to make levels up to their high standard
I think a combination of the two would be a winning design. Basically what the creators had access to.
-visual language
-easier to find your mistakes (a missing comma/bracket would stop normal typed languages)
-fun! much more engaging because you use the character/avatar to fly around your level making things
-music player. This has been added to the game recently, before this was added, there was a constant humming sound that was rather annoying. With access to your own music this encourages you to keep working on your level
cons:
-not enough detail in in-game tutorials
-not enough kinds of simple switches (you need to make your own if/and/or switches, which is time consuming)
-a level editor for the computer/mouse would be a LOT faster. This is how the creators made their levels, so it is harder to make levels up to their high standard
I think a combination of the two would be a winning design. Basically what the creators had access to.
competitive version
competitive version would contain:
-change tutorial into obstacles course with race(as most players already know how to play)
-shortcuts require keys
-would finish at the end of the "hard" section
-blind run compacted into one layer (to hide obstacles from sight)
-visual blind run tutorial (so players can easily match sound with buttons)
-score bubbles (first player to finish each section gets bonus points)
-take out echolocation (too long and avoidable), but keep in door + puzzle
-change tutorial into obstacles course with race(as most players already know how to play)
-shortcuts require keys
-would finish at the end of the "hard" section
-blind run compacted into one layer (to hide obstacles from sight)
-visual blind run tutorial (so players can easily match sound with buttons)
-score bubbles (first player to finish each section gets bonus points)
-take out echolocation (too long and avoidable), but keep in door + puzzle
video games as art
"Into the Pixel" is "An Exhibition of the Art of the Video Game", and features 16 pieces chosen by artists.
The goal of the Exhibition is to inform the public and the critics that games can display emotional elements, something that is said to be absent from interactive entertainment. The exhibition is now in its fifth year.
By actively interacting with the media, players can get a great sense of accomplishment by completing a goal. Viewers of a painting simply cannot experience this emotion easily by being a passive viewer. Evoking emotion is one of the major goals in art, and video games can do this very well. Wether it's pride, enjoyment or even unintentional frustration, actively engaging with the character and settings can guide the player to experience emotional responses, perhaps even at a greater level than traditional art.
==
From Roger Ebert, Answer Man
Challenging video games as art.
"Yours is the most civil of countless messages I have received after writing that I did indeed consider video games inherently inferior to film and literature. There is a structural reason for that: Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.
I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. That a game can aspire to artistic importance as a visual experience, I accept. But for most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic."
I feel that "player choice" is an important direction art will follow. Interactive art is gaining popularity and increasing in number as the technology gets better.
Just because something is interactive doesn't mean the creator cannot create a emotional impact. For example, "Shadow of Colossus" has very little dialog, but you feel dwarfed by the landscape, and feel even smaller when you take on the giant creatures. You feel loss when you bring down the majestic creatures and (spoiler!) when you lose your horse in the final battle.
Art with interactive elements is one of my favorite things in the the world. However it takes extensive time and programming knowledge to create something with interactivity. I hope with the constantly improving technology these kinds of projects become easier to create so ever more interesting and visually appealing interactive art (like mimetic starfish) become more common in the art world. It's a crimethat interactive art isn't considered "art" by the majority of critics.
The potential of video games as an art form is there, but the developers need to take more risks in order to produce worthwhile artistic pieces. This is becoming more popular as smaller companies (who takes risks) use the ps3/xbox online stores to share their games. Some excellent examples include Flower and Braid.
When asked "Are video games art?", Denis Dyack, president of Silicon Knights responded: “Even asking such a question is an indication that our industry is maturing and games are becoming a dominant form of entertainment...The most popular forms of entertainment—TV, music, poetry, books—went through the same perception evolution.”
I hope this will become true for video games/interactive art. :)
The goal of the Exhibition is to inform the public and the critics that games can display emotional elements, something that is said to be absent from interactive entertainment. The exhibition is now in its fifth year.
By actively interacting with the media, players can get a great sense of accomplishment by completing a goal. Viewers of a painting simply cannot experience this emotion easily by being a passive viewer. Evoking emotion is one of the major goals in art, and video games can do this very well. Wether it's pride, enjoyment or even unintentional frustration, actively engaging with the character and settings can guide the player to experience emotional responses, perhaps even at a greater level than traditional art.
==
From Roger Ebert, Answer Man
Challenging video games as art.
"Yours is the most civil of countless messages I have received after writing that I did indeed consider video games inherently inferior to film and literature. There is a structural reason for that: Video games by their nature require player choices, which is the opposite of the strategy of serious film and literature, which requires authorial control.
I am prepared to believe that video games can be elegant, subtle, sophisticated, challenging and visually wonderful. But I believe the nature of the medium prevents it from moving beyond craftsmanship to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. That a game can aspire to artistic importance as a visual experience, I accept. But for most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic."
I feel that "player choice" is an important direction art will follow. Interactive art is gaining popularity and increasing in number as the technology gets better.
Just because something is interactive doesn't mean the creator cannot create a emotional impact. For example, "Shadow of Colossus" has very little dialog, but you feel dwarfed by the landscape, and feel even smaller when you take on the giant creatures. You feel loss when you bring down the majestic creatures and (spoiler!) when you lose your horse in the final battle.
Art with interactive elements is one of my favorite things in the the world. However it takes extensive time and programming knowledge to create something with interactivity. I hope with the constantly improving technology these kinds of projects become easier to create so ever more interesting and visually appealing interactive art (like mimetic starfish) become more common in the art world. It's a crimethat interactive art isn't considered "art" by the majority of critics.
The potential of video games as an art form is there, but the developers need to take more risks in order to produce worthwhile artistic pieces. This is becoming more popular as smaller companies (who takes risks) use the ps3/xbox online stores to share their games. Some excellent examples include Flower and Braid.
When asked "Are video games art?", Denis Dyack, president of Silicon Knights responded: “Even asking such a question is an indication that our industry is maturing and games are becoming a dominant form of entertainment...The most popular forms of entertainment—TV, music, poetry, books—went through the same perception evolution.”
I hope this will become true for video games/interactive art. :)
2 player considerations
While play testing with Shannon, I thought about how the level works with two players. While it is primarily designed for one player, beating the level with two players is possible.
I added a grab switch at the start which activates race gates at the start and finish of the tutorial, which makes playing 2 player makes it more fun. I still want the level to be playable as well as conceptual. This required some LBP programming.
This worked nicely and the level didn't break at any stage. 2 players can also race through the blind section and the winner gets a moral victory (as ticking from another race is too distracting). Of course because two players are activating the sound effects, players cannot tell which sounds are for their character. So 2 players need to race through the blind run with their eyes open.
While this level is designed to be played and presented with one player, I feel the multiplayer aspect should be at least thought about. If I were to design a similar course for 2 players, I would permanently have the tutorial race open, as well as add co-op elements focused on sound design.
I added a grab switch at the start which activates race gates at the start and finish of the tutorial, which makes playing 2 player makes it more fun. I still want the level to be playable as well as conceptual. This required some LBP programming.
This worked nicely and the level didn't break at any stage. 2 players can also race through the blind section and the winner gets a moral victory (as ticking from another race is too distracting). Of course because two players are activating the sound effects, players cannot tell which sounds are for their character. So 2 players need to race through the blind run with their eyes open.
While this level is designed to be played and presented with one player, I feel the multiplayer aspect should be at least thought about. If I were to design a similar course for 2 players, I would permanently have the tutorial race open, as well as add co-op elements focused on sound design.
Necessary shortcuts
I changed the layout of the level so you can take shortcuts to the different parts of the level. This is simply to make presentation easier. I have no access to the infinite checkpoint, so if the player dies the maximum of times (around 8-10) in my level they fail the level.
As the main part of the audio experiment (blind run) is at the bottom half of the level, it is possible to only have a few remaining lives when you reach it. With the added shortcuts, if players reach the blind run and fail the level, by clicking the "restart" pop up, and using the shortcut players can go back to the point where they died and skip the time consuming conceptual organic to virtual transition/tutorial. This saves both time and frustration from the player.
Once again if this was made specifically for the community, I would add a sticker switch (which acts like a lock and key). When the player reaches the blind run, they would get a key. When they restart the level, they can use the key (which stays in their inventory forever) and "unlock" the shortcut by using the key with the lock near the entrance.
As the main part of the audio experiment (blind run) is at the bottom half of the level, it is possible to only have a few remaining lives when you reach it. With the added shortcuts, if players reach the blind run and fail the level, by clicking the "restart" pop up, and using the shortcut players can go back to the point where they died and skip the time consuming conceptual organic to virtual transition/tutorial. This saves both time and frustration from the player.
Once again if this was made specifically for the community, I would add a sticker switch (which acts like a lock and key). When the player reaches the blind run, they would get a key. When they restart the level, they can use the key (which stays in their inventory forever) and "unlock" the shortcut by using the key with the lock near the entrance.
Thursday, June 11, 2009
Days of work later...
It has taken a bit of time to get the majority of the level finished. Since the level is based and the audio cues, I needed to do tons more play testing than for a usual level.
Fortunately since I used emitters to create one time destructible elements, I could do rough play testing while in create mode.
I added an extra part in the "hard" section. A bunch of the sound cues close together, (jump, jump, grab, jump, change direction). This part is sort of a red herring as you don't need to execute them at all. This part is all straight, with no obstacles. But the blind player doesn't know that.
Fortunately since I used emitters to create one time destructible elements, I could do rough play testing while in create mode.
I added an extra part in the "hard" section. A bunch of the sound cues close together, (jump, jump, grab, jump, change direction). This part is sort of a red herring as you don't need to execute them at all. This part is all straight, with no obstacles. But the blind player doesn't know that.
Wednesday, June 10, 2009
blind run post 2
controls:
- jump (x)
- grab (R1)
- change direction (L3/stick)
elements to consider
- length of course
- number of checkpoints
- reaction time of each obstacle
- amount of different SFX
- pacing of the different obstacles
A blog that helped me: mr boss' design lair
Some rules/elements don't apply to LBP, but most of general rules are useful.
Update
I added more to the course, and split it up into 3 sections(easy, medium, hard). The sound of the checkpoint activates at the beginning of each section.
I added a shortcut to the hard section for convenience.
I separated each section with a different colour.
Originally I was going to obscure the whole course for the player, and have them wear headphones.
However if I hid the course from view (+ player wore headphones), no one else would be able to see or hear what is going on in the game during the presentation.
Because there won't be enough time for everyone to have a go, I feel being able to see the course is necessary. During the presentation, the player will have to just close their eyes. While play testing I found that playing with your eyes closed was easier than watching a blank screen. So if players will close their eyes anyway, I may as well make it visually appealing for the other people in the audience.
If I was making this level for the LBP community as a shared level, I would obscure the view to prevent people from cheating by just playing with their eyes open.
In LBP you can also add race gates (start + finish) which gives you more points the faster you finish the course. While this adds replay value to the level, while racing, there is a constant ticking sound, too distracting for a player navigating from sound cues.
- jump (x)
- grab (R1)
- change direction (L3/stick)
elements to consider
- length of course
- number of checkpoints
- reaction time of each obstacle
- amount of different SFX
- pacing of the different obstacles
A blog that helped me: mr boss' design lair
Some rules/elements don't apply to LBP, but most of general rules are useful.
Update
I added more to the course, and split it up into 3 sections(easy, medium, hard). The sound of the checkpoint activates at the beginning of each section.
I added a shortcut to the hard section for convenience.
I separated each section with a different colour.
Originally I was going to obscure the whole course for the player, and have them wear headphones.
However if I hid the course from view (+ player wore headphones), no one else would be able to see or hear what is going on in the game during the presentation.
Because there won't be enough time for everyone to have a go, I feel being able to see the course is necessary. During the presentation, the player will have to just close their eyes. While play testing I found that playing with your eyes closed was easier than watching a blank screen. So if players will close their eyes anyway, I may as well make it visually appealing for the other people in the audience.
If I was making this level for the LBP community as a shared level, I would obscure the view to prevent people from cheating by just playing with their eyes open.
In LBP you can also add race gates (start + finish) which gives you more points the faster you finish the course. While this adds replay value to the level, while racing, there is a constant ticking sound, too distracting for a player navigating from sound cues.
level progress
I have built some of my level. Including:
-quick tutorial introducing controls
-conceptual real world space that shrinks
-real world -> virtual transition
-sound puzzle
-sound door
To do:
-echolocation
-finish blind run course
After these functional elements are done, I will work on the "look" of the level.
If I have time, I will attempt the following (in priority order):
- scary sound scape (convey mood with sound)
- a variety of square spaces that experiment with sound/space, not sure how/when to incorporate them into the level.
- comic panels playing with time in space
===
After a few hours work + playtesting.
I think the blind run course is enough in itself. I extending my original course, and added a few checkpoints. It is HARD. There are only 3 sound cues to remember.
- Jump
- Grab
- Change direction
After play testing the course with my eyes closed, I found it really difficult to beat the course.
I am thinking of having 2-3 different courses using the same sound effects.
easy, medium, and hard.
I realised I needed to introduce the elements (different sfx + reaction time) a lot slower.
Easy course will have jump and grab, with the hard obstacle being jump + grab together.
Medium will be the same, but introduce the "change direction" sfx.
Hard will contain everything.
The three levels can easily fit inside the same level (as there is a space limit), so I will try to have an area where the player can choose the difficulty.
Not sure whether to include the other sound based elements (puzzle/door/echolocation)
I need to draw up some layouts. Unfortunately the level editor cannot zoom out to the edges of the template.
-quick tutorial introducing controls
-conceptual real world space that shrinks
-real world -> virtual transition
-sound puzzle
-sound door
To do:
-echolocation
-finish blind run course
After these functional elements are done, I will work on the "look" of the level.
If I have time, I will attempt the following (in priority order):
- scary sound scape (convey mood with sound)
- a variety of square spaces that experiment with sound/space, not sure how/when to incorporate them into the level.
- comic panels playing with time in space
===
After a few hours work + playtesting.
I think the blind run course is enough in itself. I extending my original course, and added a few checkpoints. It is HARD. There are only 3 sound cues to remember.
- Jump
- Grab
- Change direction
After play testing the course with my eyes closed, I found it really difficult to beat the course.
I am thinking of having 2-3 different courses using the same sound effects.
easy, medium, and hard.
I realised I needed to introduce the elements (different sfx + reaction time) a lot slower.
Easy course will have jump and grab, with the hard obstacle being jump + grab together.
Medium will be the same, but introduce the "change direction" sfx.
Hard will contain everything.
The three levels can easily fit inside the same level (as there is a space limit), so I will try to have an area where the player can choose the difficulty.
Not sure whether to include the other sound based elements (puzzle/door/echolocation)
I need to draw up some layouts. Unfortunately the level editor cannot zoom out to the edges of the template.
Tuesday, June 9, 2009
Manipulating time, space and sound
There are lot of limitations with the sound in LBP.
I am finding it harder and harder to come up with ways to navigate by sound.
I will also explore how the player can manipulate time and space if I can get the sound mechanics done (+ polished) in time.
Below are some examples of manipulating space and time in games.
"Shadow physics"
Uses light and 3D space for your shadow character to man
Uses a character (who is only visible in the shadows) who can manipulate 3D objects, and can use their shadows as platforms to get from A to B.
"Braid"
Game based around the ability to rewind time. For example you need to collect all the puzzle pieces, you fall down a tunnel, but you miss a piece. You can rewind time to when you are dropping, and navigate toward the puzzle piece.
I am finding it harder and harder to come up with ways to navigate by sound.
I will also explore how the player can manipulate time and space if I can get the sound mechanics done (+ polished) in time.
Below are some examples of manipulating space and time in games.
"Shadow physics"
Uses light and 3D space for your shadow character to man
Uses a character (who is only visible in the shadows) who can manipulate 3D objects, and can use their shadows as platforms to get from A to B.
"Braid"
Game based around the ability to rewind time. For example you need to collect all the puzzle pieces, you fall down a tunnel, but you miss a piece. You can rewind time to when you are dropping, and navigate toward the puzzle piece.
Sunday, June 7, 2009
1st person game engine mods
"Blind Monk's Society". Experiments with navigating in darkness, using only audio cues like continuous talking or whistling. A mod using the half-life game engine.
Playing by ear: Documents an experiment using the old Quake engine to create a playable environment for the blind.
One of the most interesting parts I read, was that they used different types of footsteps depending on the location.
"A carpeted study has quiet footsteps, while a kitchen has sharp, echoing footsteps"
This is a common element to add with any platforming/first person game.
It's amazing how much players don't think about the audio. I'm sure the different sounds of footsteps help visual players, even if it's only on a subliminal level.
That blind kid sure plays a mean ... Soul Calibur 2
An article about a blind kid who can play some visual games successfully, because of the audio cues.
METRIS!
Musical tetris for the blind! This game is hard. Totally reliant on audio cues, and the unclear instructions didn't help. I got 50 points, which I assume is one line. I found that I would be able to play the game better if I could match the audio cues with visual ones. If there was a version with image and sound, I feel I could match the two spaces, and after learning the audio cues, could advance into the audio only version.
Monday, June 1, 2009
recreating echolocation
Expanding on John Wynne's Wireframe (audio drawing) idea, I could "shrink" the size of the space, or maybe an enemy's sound could get quicker as it bounces back?
It would use the same LBP model from the drum kit, but I don't know how to make it playable...maybe having an enemy coming at you. In the dark so you cant see and have to rely on audio.
I fix the drum kit dynamic, and make the main piston automatic. When the enemy comes closer to the player the frequency of the sound gets quicker, like echolocation. When it's close, avoid it by jumping. I would have to put the mechanic on the front most layer.
I also need to play around with the pitch of the sounds. You can't make a gradient of a sound effect (one sound going high to low, or changing the volume from high to low).
The change in the same sound effect's volume/pitch could indicate height of the player. Would not work for depth on the z axis. How do I make this playable?
Unfortunately the player can estimate his height from the camera view.
Why would player need to know his height, as opposed to simply guessing?
The sound effect from the point bubbles get higher the more you collect.
Also some birds use echolocation to navigate caves. :o
The level will be impossible to beat if the player cannot hear the audio.
It would use the same LBP model from the drum kit, but I don't know how to make it playable...maybe having an enemy coming at you. In the dark so you cant see and have to rely on audio.
I fix the drum kit dynamic, and make the main piston automatic. When the enemy comes closer to the player the frequency of the sound gets quicker, like echolocation. When it's close, avoid it by jumping. I would have to put the mechanic on the front most layer.
I also need to play around with the pitch of the sounds. You can't make a gradient of a sound effect (one sound going high to low, or changing the volume from high to low).
The change in the same sound effect's volume/pitch could indicate height of the player. Would not work for depth on the z axis. How do I make this playable?
Unfortunately the player can estimate his height from the camera view.
Why would player need to know his height, as opposed to simply guessing?
The sound effect from the point bubbles get higher the more you collect.
Also some birds use echolocation to navigate caves. :o
The level will be impossible to beat if the player cannot hear the audio.
drum kit test
Tried making the drum kit.
The sound effects (ex.symbol) didn't activate every time like I wanted. It may be just a case of inverting the key switch.
The sound effects (ex.symbol) didn't activate every time like I wanted. It may be just a case of inverting the key switch.
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