Polonez

I decided to try what I could accomplish in terms of developing a game from scratch if I constrained the development time to a few hours. The original idea was to improvise a game during a 1,5 hour bus trip which was a bit unrealistic to be honest.

When I entered the bus I had no idea of what kind of game to create and when I left the bus I had a very generic arena shooter engine. After that I basically flipped the game mechanics around.

The game was finished in about 5 hours (most of which went into polishment) and it’s at least pretty addictive. It might also be pretty easy to see that a certain developer has influenced both the development method and graphical style :)

Polonez can be downloaded here 
(Windows only, wine might work).
The music was made by Luke Thomas.

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Testing

This is something I almost forgot to post. It happened during an intense testing day one and half weeks ago:

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The Swapper screenshots

Progress update, finally..

I’ve been terribly busy working on the game. Below is a new trailer.
There are still lots and lots of small things to do gameplay-wise, for example polishing the character movement and animation code. Because the animation is procedural/physics based it’s all about patiently tinkering with different values. On with the video:

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Gravity Room

The below video is basically a compilation of all the stuff The Swapper is at the moment. And that means actually starting to work on the game itself instead of worrying why OpenGL or {replace with any other library}sometimes sucks so much.

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Character designs

Today I modeled the first ever character for the new engine. Using real clay. Results below: (they surprised me)

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Dynamic shadow system

Post Fx pt. II

Depth of Field shader

Post Fx

Having a background of working on some movie stuff I can’t underestimate the way in which colors can affect the atmosphere of a scene, be it game or movie. Thus it was clear that color correction/manipulation functionality should also be available in the new engine.

Among that I added support for screen distortions which can be extremely useful when wanting to create a perception of glass, heat, explosion shockwaves or being drunk and many other things. The way in which the distortions work is pretty common and simple. Before rendering the actual scene  to the screen a texture is created which has it’s base color as dull brown ( precisely RedGreenBlue 127, 127, 0 or 0.5, 0.5 ,0 ). Different sorts of psychedelically colored shapes are then rendered on the texture.

The color in the texture tells what is the relation between a pixel’s position in the original rendering and when the rendering is shown on the screen. The red component of the color tells if the pixel drawn on the screen should be picked from left or right relating to the position of the current texture coordinate (sounds more complex that it is).  Accordingly the green component tells how much the position should be moved up or down. When the final image is drawn on the screen each pixel gets an offset based on the color in the texture.

The biggest benefit from that approach is the fact that the same normal maps that are used when calculating the lighting can also be used to distort the image. Thus the rock composed from the textures shown on the side could be made look glassy just by telling the game it should be rendered that way. No additional textures would be required.

Well, it’s video time again:

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