Posts Tagged indy

Tribes of Mexica, The Beginning

tomcoverheader Tribes of Mexica, The Beginning

I’m making a game. Here’s a video of the tech-demo/proof-of-concept:

The basic premise of Tribes of Mexica evolved from kicking around a few ideas that dealt with creating gameplay mechanics from radial menus. I have a couple different takes on it, actually, but the one I’m currently focusing on is a classic match-three approach. The reason for this is that it’s a relatively simple and intuitive concept, but it still provides me some room to be unique.

Of course the fact that match-three is almost a genre unto itself means that I’m not going for 100% originality. And that’s OK, too. Very few developers seem to be willing to point out their inspirations, and it’s a silly phobia. Also, too many titles are credited with being original when they simply use an existing formula with a new element or two. Instead, I’m committed to creating this game all the while calling a spade a spade.

tlalocconcept Tribes of Mexica, The Beginning

Concept art for Tlaloc, one of the more significant gods in Aztec mythology.

So what’s my inspiration? Well, I think Puzzle Quest will draw the most comparisons, and that’s fairly accurate.

Soon after prototyping the ring-rotation, though, I realized that it’d be tough to make a pure puzzle game out of ToM. The interconnected nature of all the coloured elements meant that it was virtually impossible to visualize ahead more than a move or two. Typical links/chains/combos were possible, but they were usually a result of luck, not skill. The radial design also imposed various limitations that are not an issue with static, grid-based puzzlers such as Bejeweled. Still, I was fond of the core concept, so I decided to build on top of it and turn it into a combat game of sorts.

Much like Puzzle Quest, each attack fills up a colour-coded “spell” (currently indicated by the Xbox 360 controller’s face buttons), but I think that’s where the similarities end. ToM is a real-time game, requiring constant analysis and input. In fact, I think it’s more akin to Patapon than anything else; it’s an abstraction of an RPG battle system coupled with an interesting input mechanic.

The one-on-one nature of ToM also allows it to draw upon some elements found in traditional fighting games, and I’ll try to incorporate more of those as the title progresses.

Also, until we give the Incubator Games website an upgrade, I’m going to chronicle the whole experience here on Significant Bits. It’ll allow me to talk about the evolution of ToM’s design while bringing up a couple of other topics such as contracting and promotion. Too often such talking points are relegated to sentiments of “You should do it, and it’d help if you did it well,” though, and that’s not very helpful. Instead, I’ll strive to provide hard numbers and some personal opinions on the overall experience. Hopefully you’ll all find it interesting.

Next Tribes of Mexica post.

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Scary Girl and the Bane of Platformers That is Physics

Scary Girl got quite a bit of attention at the tail end of GDC ’09. It’s out now, and it’s free, so I decided to give it a go.

scarygirl1 Scary Girl and the Bane of Platformers That is Physics

Yes, it's pretty.

The game’s aesthetics are definitely its high-point, somewhat aping the twisted surrealism of Beetlejuice. Scary Girl even does some interesting things like the animating dialogues — something that I’ve been meaning to throw into a game ever since reading demian5‘s When I Am King.

As a platformer, though, it’s simply bad.

scarygirl2 Scary Girl and the Bane of Platformers That is Physics

I also found myself scratching my head when my character wasn't picking up the collectibles she was overlapping.

The issue with Scary Girls is what’s endemic to so many indie games: an overabundance and over-reliance on physics.  For every Armadillo Run, there’s ten titles like Pac-Man physics. This particularly hurts platformers as the whole genre relies on “tight” controls and precise movement (even in the easy games).

Yes, Mario, Sonic and Mega Man all had physics,  but they weren’t realistic. The algorithms behind those games were MIN/MAX-ed to attain a certain “feel,” and the level design reflected that. There was usually no need to involve mass, the Coriolis effect, or the actual trajectory of a human jumping ten times his own height in an earth-like environment. Instead, the physics were meant to be fun and intuitive, and the architecture of the levels supported them and the player’s goals.

scarygirl3 Scary Girl and the Bane of Platformers That is Physics

You need to jump to get the cross of collectibles, but hardly any of the possible trajectories will achieve that.

Sure, N was quite a departure from that, but it wasn’t your typical Flash platformer either. It had a very zoomed out view, a high resolution, lots of different surfaces, etc. The game still wasn’t my cup of tea, but it was aware of its strengths and used them to build unique and entertaining playgrounds. Most physics-based platformers, though, seem to occupy a space somewhere in between N and nostalgic games like Mario, and they’re rarely any good.

Scary Girl’s second stage is the ubiquitous underwater level, and, naturally, it’s even slower and floatier than the on-land action. It also uses tank controls, i.e., left/right to rotate, forward to advance, and it’s a mess. Even though you have to dive, the buoyancy of the water is constantly rotating your character to face up. What’s worse, there’s an air meter, water currents, and painfully slow step-like diving movements. It’s pretty much the complete opposite of fun.

Despite its good looks, the game’s an awkward struggle with no flow. I doubt I’ll ever play it again.

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