Posts Tagged Video game

Feeding Time is Coming!

We’re making a small iOS puzzle game, let us know what you think!

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Trudy’s Mechanicals

TrudyHeader Trudys Mechanicals
Over at Incubator Games I am currently working on a title called Trudy’s Mechanicals.

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A partial cast of Trudy's Mechanicals.

Trudy’s Mechanicals is a “tactics” game set in a Steampunk universe, and we’ve been plugging away at it for a little while now. Since I’ve yet to announce it on my blog, I figured the new year would be as good a time as any.

In an effort to create some extra exposure for the game, I’ve also decided to start cross-posting my articles from the Incubator website. First up is a design overview of Trudy’s Mechanicals entitled “Planning a Tactics Game”.


Tactical games are something of a sub-genre that’s a bit difficult to nail down. Plenty of Tactics games have been released over the years — on both PCs and consoles — with many similarities and differences.

Despite a loose definition, a common thread among them is a focus on turn-based battles between individual units. These conflicts usually take place on wholly isolated maps and center on moment-to-moment maneuvers rather than the long-term goals of strategy games.

Our whole team has always enjoyed these titles, but none of us have worked on them in the past. As a result, we had to do some research before diving into production on Trudy’s Mechanicals.

Tactics Ogre Remake Trudys Mechanicals

A Tactics Ogre remake was recently announced for the PSP; the original still stands as a pioneer among console Tactics games.

We played a bunch of the most notable entries that fall under the Tactics banner, and took some high-level notes on “the good” and “the bad” of each title. Here are the highlights of those lists:

The Good

  • Units possess unique abilities and physical attributes that provide various combat options.
  • Maps are varied aesthetically and can grant passive modifiers, e.g., it’s harder to move through mountainous areas, troops can hide from long-range attacks behind buildings, etc.
  • Units tend to grow stronger as the game progresses, creating a steady stream of rewards while modifying how the battles play out.
  • Bonuses for side/back attacks and elevation are intuitive and fun to exploit.
  • Where available, fog of war creates a strong need to explore the map while facilitating ambushes and other tactics.
  • Outsmarting the AI by utilizing all of the above factors is extremely satisfying and a key component of the genre’s appeal.

The Bad

  • Controls rarely accommodate for the most common use case, e.g., it often takes as many actions to use an antidote (rare) as it does to launch an attack (common).
  • Terrain is usually static and non-interactive, e.g., it’s not possible to blow up bridges or set forests on fire.
  • Movement and attack ranges can only be checked for one unit at a time, creating a lot of busy work where the player needs to cycle through all the enemies in order to pick the optimal location for his own unit.
  • Attack animations — especially when presented via separate screen cinematics — are quite lengthy and devoid of any interaction.
  • Unit types and abilities are often duplicated from game to game. For example, in a fantasy-themed title it’s common to have a melee warrior, a long-range archer, a spearman with an extended reach, a mage that casts destructive spells, and a generic healer. This approach makes many of the games feel too derivative while missing the chance to introduce possible new tactics.
  • Conflicting variables make it hard to predict battle results, e.g., rock-paper-scissors unit weaknesses are combined with terrain modifiers, facing directions, weather, time of day, zodiac sign, faction allegiance, etc. As a result, some games feature an attack preview that informs the user of the likely outcome. This works well enough, but presents another manual check and input-step that interrupts the overall flow.
Shining Force Forest Trudys Mechanicals

Running around in Shining Force as Zylo the Werewolf without any terrain penalties was great fun.

As an iPad game, we’re aiming to make Trudy’s Mechanicals as quick and accessible as possible. Using this goal as a filter, we paired down the above points to what we considered appropriate for our own title:

Our Takeaway

  • The most common actions should only take one touch/swipe to execute. For example, tapping a valid enemy should make the current unit approach it as close as necessary in order to attack (preferably from the side or back if possible).
  • Visual indicators should be provided for range (which enemies are in the current unit’s range, and which enemies can also attack that unit), health, “elemental” weaknesses, and any other metrics necessary to plan the optimal course of action.
  • Fog of war might be an interesting concept, but it’s not very intuitive and should be avoided alongside any other potentially confusing mechanics such as terrain modifiers that contradict facing/elevation bonuses.
  • Usable and destructible map objects should be sprinkled throughout the levels in order to add extra combat options and make the world feel less static.
  • Unit levels and inventories should not be implemented in order to avoid extra micromanagement and potential multiplayer issues. To compensate for the removal of the leveling-up reward stream, each successful mission should provide the player with a permanent upgrade such as a new recruitable unit or the ability to use more in-level objects.
  • Attacks should take place on the same screen and appear quick and vicious in execution. In order to achieve this, an attack’s kinetic impact and visual effects should by styled after action games instead of abstract strategy titles.
Laser Squad Nemesis Trudys Mechanicals

Laser Squad Nemesis was one of the first games to feature a deep planning segment that culminated in all units executing their commands simultaneously.

Of course there were also numerous other considerations: Should the maps be 2D or 3D? Should movement be grid-based or more organic? Should randomization elements be added to extend replay value?

Eventually a lot of these questions answered themselves, but a solid mission statement really helped to lay down the groundwork and guide future design decisions.


For more concept art, design talk, programming approaches, etc., head on over to our website.

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Design Roundup #4

articlesheader Design Roundup #4

  • The Psychology of Randomness – People tend to be terrible at accepting randomness for what it is, and it’s a very important trait to accommodate for in game design.
  • Testosterone and Competitive Play – Danc’s essay on playing against friends, playing against strangers, the perception of luck and skill, and pro-social/pro-dominance tendencies.
  • Groundhog Day and Video Games – Groundhog Day is a fantastic movie with a surprisingly wide-spread appeal, and I always thought its concepts were perfect for a videogame.

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A Layman’s Guide to Projection in Videogames

Oftentimes when a videogame has a skewed, overhead point of view, we call it isometric. That’s rarely the accurate term, though, and it’s not just pointless semantics.

echochrome A Layman’s Guide to Projection in Videogames

Although Echochrome uses a single projection type, its gameplay is based on constantly rotating and morphing its 3D structures. With each new view, the physical architecture of the level changes to reflect what the player sees on the screen.

Projection basically means taking a three dimensional object and displaying it on a 2D plane (i.e., a screen). There are various ways of accomplishing this, and each technique has a deep impact on a game’s look and mechanics. The advent of 3D games and free-floating cameras somewhat lessened this role, but being aware of the pros and cons of each projection type is still applicable to both 2D and 3D titles.

So what exactly are these projection types? Well, let’s take a look:

Read the rest of this entry »

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Wheelman’s Melee Car Attack

A large part of the fun in driving games is the sense of speed. Car and simulation enthusiasts definitely enjoy taking a turn just the right way, but, as far as arcadish fun is concerned, the slowing down part is never really a high point. Now Wheelman might be disguising itself as an open-world, set-piece game based on a cheesy, over-the-top summer blockbuster that never happened (or, rather, hasn’t happened yet), but, at its heart, it’s just a good ol’ arcade game.

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The people behind you seem a little pissed.

The driving itself borrows heavily from Burnout. Destroying other cars triggers a dramatic replay that’s pretty much the takedown effect, while going really fast and smashing into other vehicles fills up a special meter. None of this is quite as extravagant as Burnout, but it works. The focus meter grants the use of the ubiquitous boost and a few other special moves.

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You can still shoot people while driving without bullet time, but it's not really accurate and takes forever to take down your enemies.

The first is the focus shot. Executing one of these slows down time and moves the camera inside the car. At this point, Milo Burik, Vin Diesel’s character, whips out a gun and any possible targets are overlaid with a circular bullseye. This bullet time section allows the player to concentrate on shooting instead of driving, which is useful for picking off pursuers and breaking through roadbloacks (which, conveniently, are often composed of a gas tanker or two).

The second special move is the cyclone. It also slows down time for shooting-gallery purposes, but it results in the player’s character turning the car 180 degrees, putting it in reverse (so it’s still moving in the same direction as it was before the move was executed), firing off a couple of shots, then finally turning it around and putting it back into gear.

Oh, and Milo Burik is also a superhuman who can leap out of the car he’s driving and hijack other vehicles on-the-go.

Is it starting to sound arcadish yet?

Well, possibly Wheelman’s most arcadish aspect is the car melee attack. Now weaponless combat is common in driving games. Rocketing forward at hundreds of miles per hour while trying to steer your opponents into obstacles — and avoiding the same fate — can be great fun. It also doesn’t require any extra input and uses existing game elements, so it’s a very organic mechanic.

In Wheelman, however, this tactic is explicitly appended by player input.

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Smashing into cops using the car melee attack.

Flicking the right analog stick either left or right propels the player’s car in the corresponding direction. At first, this might seem entirely extraneous. After all, why introduce extra input for tried and tested gameplay (it certainly wouldn’t have been my first instinct)?

Well, the brilliance of “car melee attack” is that it’s not quite the same old mechanic. In driving games, it’s necessary to turn your whole car in order to manually home in on other vehicles, i.e., the car’s front wheels turn, and the rest of it follows. Wheelman’s melee move, though, is more of an instant strafe. In execution, it allows the player to smash against adjacent cars without changing the angle of direction. It’s not at all realistic, but it results in some pretty aggressive driving where the player doesn’t have to worry about going off-course.

An interesting side effect of this mechanic is that it also alters the non-combat aspect of driving. The ability to instantly strafe adds an extra layer to the navigation of the game world, particularly when driving against oncoming traffic.

The melee car attack is definitely a unique concept, and it enhances Wheelman a lot more than some of its other flashy mechanics.

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