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Ah! Thankyou! That works much better. I'm not quite sure what these lines do, though:

Code: AGS

  while (x < 0) x += w; x = x % w;
  while (y < 0) y += h; y = y % h;

So, while x < 0, add the width of the image to the offset, and make x the remainder of the division the offset by the width. If I'm reading this correctly, it's making the offset a number between 0 and the width/height of the image?

I'm trying to make a simple graphical effect - offsetting a sprite from it's original coordinates, and wrapping it around to the other side if parts go beyond the boundaries of the sprite (for instance, if a row of pixels go beyond the height of the sprite, that row is put back at 0 - basically moving the sprite around the canvas and wrapping it around). I've come up with something that sort of works, but I don't think it's very efficient or even correct.

Code: AGS

function Offset (this DynamicSprite*, int x, int y)
{
  
  DynamicSprite *tempspr = DynamicSprite.Create (this.Width, this.Height);
  DrawingSurface *surface = tempspr.GetDrawingSurface ();
  surface.DrawImage (0+x, 0+y, this.Graphic);
  surface.DrawImage (0+x-this.Width, 0+y, this.Graphic);
  surface.DrawImage (0+x+this.Width, 0+y, this.Graphic);
  surface.DrawImage (0+x, 0+y+this.Height, this.Graphic);
  surface.DrawImage (0+x, 0+y-this.Height, this.Graphic);
  surface.DrawImage (0+x-this.Width, 0+y-this.Height, this.Graphic);
  surface.DrawImage (0+x+this.Width, 0+y+this.Height, this.Graphic);
  surface.DrawImage (0+x-this.Width, 0+y+this.Height, this.Graphic);
  surface.DrawImage (0+x+this.Width, 0+y-this.Height, this.Graphic);
  surface.Release ();
  surface = this.GetDrawingSurface ();
  surface.DrawingColor = 0;
  surface.DrawRectangle (0, 0, this.Width, this.Height);
  surface.DrawImage (0, 0, tempspr.Graphic);
  tempspr.Delete ();
  surface.Release ();
}

Is there an easier way to do this?

I believe Speech Center is what you want - it allows inline editing and mass reading of text strings.

But if you really want to do it the TRS way, then you have to make a check at the start of the game to see if the player is using the translation, and if they aren't (If the GetTranslation returns ""), abort the game telling them to pick a translation.

She needs many, many more frames in her walk animation, yes. Give her knee rig a workout, and try to match moving her whole rig with her leg movements - ideally you want her feet to be leading the action, not the action shifting her feet. You may have to go and fix her feet every frame in order to eliminate the glide effect. (I suggest making a new scene and testing out animating a walk cycle in that - just try to move her across the screen without her gliding - you may be able to make an animation clip out of it and use that in other scenes, if the animation capability of your program is anything like Maya).

But I'm more concerned about the actual action here - her journey seems a little dead. There's no character, no life in her movements. There's no thought process going on in her head. Try to imagine being her walking through the set - what is she thinking? What is she feeling? Is she absorbing the wondrousness of the set? Is she pointedly trying to ignore the whimsy? Explain to us, through her actions, what she is going through in this scene.

Generally when I'm animating a scene, I like to create a 2D version of the movements I want to portray. Very quickly, without much detail, just getting the action across. Here I have her interact with the horse, notice the carriage, and leap forward at it. I would probably make it more of a skip than a leap if I were to continue with this, but I only wanted to demonstrate the technique:


This contains a lot less actual walking, but a lot more specific animation - it tells us far more about her theoretical character than a technically accurate walk cycle (though getting the walkcycle correct is also important). What I've animated is not your character, though (since I don't have near enough information on her personality or intentions) - you need to work out what she's doing yourself. If she's familiar with this room, or if she's just seeing it for the first time, she's going to react differently. Nobody just walks anywhere. Use this scene (and all scenes, really) as an excuse to tell the audience all about the character.

Spoiler

That's pretty simple. In your room's Rep_Exec function, add this:

Code: AGS

if (Character.IsCollidingWithChar (player))
{
    Character.ChangeRoom (TARGETROOM);
}

Just replace "Character" with the name of your NPC, and TARGETROOM with the number of the room you want them to go to.

[close]

Edit: v2.72? Uh. I /think/ this is the right syntax?

Code: AGS

if (AreCharactersColliding (EGO,NPC))
{
       character[NPC].room = -1;
}

That's Inherit the Earth, Quest for the Orb!

Edit: And the third party member was a deer!

DWEF is a game of many games. I'm experimenting with the feel of each genre of game to partially tell the story. Not all characters will interact with the world in the same way. Some see the world differently. It's difficult to program, but worth it.

I wanna keep y'all updated on the game, but a lot of the stuff I'm working on isn't very pretty. It's very rough still, and I'm not sure how to present it without doing the art for it first. But here's some in-production stuff.

I just tried this out, it handles much better! I'll be able to do any kind of font now that the index is displayed! Thanks, Rulaman, this is excellent.

The first thing I think when I see the picture is that the lineart is very good, but the shading kills it, makes it look flat and boring. You need to make your shadows more obvious, and your lighting doubly so. I've mocked up what I mean here:



Did late afternoon because I couldn't think of anything better, and it's not all done. Ideally you'd put shadows in a lot more places. The light would be yellow-orangey, and the shadows would be blue-purple - this creates an interesting contrast that enriches the scene. I put a dark blue Screen layer over the top of it to soften out all of the harsh hues and unify them a bit towards blue. The shafts of light are placed over this layer and are so immune to being blued out, creating more contrast. Instead of colours being what they objectively are, they are instead informed by the environment around them, and it makes them look more there.

You also don't want to overload the player's senses with light - if everything is uniformly lit, the player won't know where to look in the background. Add in shadows to places that aren't important, and light to places that are.

The key to backgrounds is that they need to be slightly more gentle than the characters. You could make a big black outline on the characters and noone would bat an eyelid, but if you do it on the backgrounds as well the characters will vanish into them, swallowed whole by their loudness. Even if you don't want gradiented shading, I'd avoid deep black outlines because, well, they'll overpower anything on them.

I'm trying to make a kind of parkourey/spelunking platformer kind of feel. Emphasis on platforming, no weapons, enemies are a threat to be avoided rather than killed, etc.

https://www.dropbox.com/s/bedz5g8yohpot2i/Platformer_Test2.zip

Lowered the jump, made it faster, lowered the running speed, and fixed collision detection for slopes (I was adjusting the y in the last build, this time I just keep the animation running if the distance to the ground isn't too great).

It was just slow to upload, it should be up now.

Recently I've been hankering to do some programming, and Calin Leafshade's Pixelformer piqued my interest. A platforming sub-engine that uses AGS' built in tools to create levels. I was interested! It looked promising, so I've spent the last couple of days hashing out some more stuff in it. So far I've got objects acting as blocks, wall-jumping, wall-clinging and non-wall-jumpable walls, platforms that rotate and bring you along with them, and both vertical and horizontal floating platforms. All of these are just objects in the room controlled by the room script. Green platforms can be jumped through and jumped down from with down+Z. The scrolling room can be accessed from the left of the room you start in.

Download it here!

I'm not really very good at making platformers, so I'm not sure if the physics are right on or if it's tight enough. I just messed around with the numbers until it 'felt' right. What do you all think? Is it too slippery, or too stiff?

If you use sound clips instead of speech clips, you can use AudioClip.PlayQueued () to line up sounds to play. Then you could, for instance, have "Mm", "<Inventory item>" and "I don't think that will be any good." played one after another.

It seems the best way to handle this with the limitations of the engine is to record one line which says: "Mm, no, I don't think that will be any good. If I can just short circuit the electrics.". The addition of the inventory item's name doesn't add much in this instance.

But that means nothing, since we are here and now. I only said that you can make games without having nothing to do with the game business. There is nothing WRONG with being paid for doing what you like. It's not a right and wrong question, it is just that you need enough people doing the hard work for you so it becomes possible to live as an artist or a philosopher... That's why civilization is based on slavery. Slaves can be substituted by machines, but it is not that simple. We are still trying to make it work.

Everyone does something for everyone else. If the artist did not contribute anything of value, then there would be no artists. The people doing the "hard work", the farmers, the doctors, the builders, all find value in what the artist does. Being an artist is no easier than being any other job. It's just hard in other ways. Would you say the same for any other job?

You benefit from civilisation, have benefited, since birth. You are using a machine that required many thousands, millions, of hours of work (that could have been used gathering food), to deliver your ideas to others across the globe. Without the concerted effort of civilisation, culture would be relatively stagnant, people would devote more time to individually surviving and less to thriving. Would you want that?

Would you want to deny people access to boundless knowledge? In the age of the internet, I could learn pretty much anything I wanted to. In the age of nomads, I would be stuck with an infinitesimally smaller amount of knowledge. The knowledge of 100 people, tops.

Civilisation isn't perfect, but it sure beats the alternative.
(the alternative is that we spend more time and energy gathering food and less time on gathering knowledge)

Really, what's the point? Ask different cultures, and you will get different answers. I was only showing the distance between our culture and those that would say that all those things are divine, they connect us with a higher level of existence, they are transcendent. So it doesn't really comes from us, we are just allowed to participate. Be thankful for that! If this is a very hard concept to grasp, sorry about even mentioning it here... I did cause I wanted to who how big games can be.

To be honest, I find this incredibly insulting, on an almost visceral level. It implies that humans are pointless, useless, completely devoid of any creative thought without some greater thing giving them it out of pity. It takes all of our achievements, personal or grand in scale, and takes them away from us, instead giving them to some invisible, ineffable non-entity. In externalising achievements, by taking away the agency of humans and praising the intangible, it stops curiosity, and development, and everything that makes us human, and reduces us to mere puppets of greater beings.

There's Linear Hangul ( ㅎㅏㄴㄱㅡㄹ ), but that was only used in the early 20th century, and wasn't very popular.

It would be possible to change the text rendering system - though even that I'm pretty worried about - Korean has nine different ways of constructing a syllable block. Looking at a placement chart, there are 19 initial (with 6 configurations), 21 medial (with 8 configurations), and 27 final (with 2 configurations) glyphs. Adding them together, you'd need at least 336 seperate glyphs to construct every Korean syllable block (I'm sure there's some overlap that can be taken advantage of to cut down the total number - such as combining ã…‡ [no sound initial] and ã…‡ [p final], or á„â,¬ [ng initial] and ㄱ [k final]). A tricky thing, to be sure, but it looks possible?

Oh, I can fix that.



I think I'll just write this one off as practice, and do another painting later. Too burnt out.

The pieces are on different layers, my ire at constant repainting is mostly because it erodes my will to work on it.

I'm just going to keep her slightly short legs, I don't ever want to touch that part again.

No no this looks a lot like Legend of Valor. I so wanted this game to be good too, but it just wasn't...

This is correct!

You could throw herbs at random dudes and it was pretty amazing to watch when all you've seen before is Frogger and Digger, ahaha. But Legend of Valor did not live up to the hype. :<

I was looking for this game for years and years after watching my cousin play it, but it turned out to not be as good as I originally thought it would be.

Battle Clash for the SNES?