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Well, once again I'm taking a shot at making this character, as a break from the bleak dystopia of Technobabylon. I think she's looking better than my previous attempts have been able to achieve, but if anyone can give me some pointers on how to improve pixel art, I'd be obliged! Frankly, I'm not happy with the 3/4 standing view.

Always keen to try new gimmicks gameplay challenges, I've decided to see about incuding one or two short 3d segments representing the protagonist's interaction with cyberspace. Here, have a few pictures.






With the AGS3d plugin (which is awesome, I must say), I've been testing out building a world of primitives. For whatever reason, using sprites in here doesn't work (I'm guessing it's because of the newer version of AGS), so I'm resorting to monocolour surfaces on my primitives. I'm pretty sure I can make this work, but I wanted your opinion on the colour scheme/style I'm building cyberspace out of here. Thus far, I can make things rotate, as well!

I've decided to go for this kind of style as deliberately "spartan". The protagonist is fishing around inside the systems of a government agency (ergo, a body who are unwilling to spend more than necessary on UI decor)

But don't just take my word pictures for it, have a go of it yourself. Just interact with the panel by the bed or door to enter the environment. I figured I should check that it at least works on a decent proportion of computers before I decide whether it should be an integral component of the game! Right-click jumps in cyberspace, by the way.

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"What is this, national suicide week?"



A young woman contemplates her end. A terror from the past comes to take its revenge. A police scientist finds himself blackmailed with the lives of the unborn children of his dead wife.



Forced to carry out the will of an anonymous voice on the interlinks, Dr Charlie Regis must try to perform both his official role as public servant, and the role that his antagonist has set for him. How long can he keep this conflict hidden from his friend and partner, Dr Lao? And more importantly, can he save the most important remaining part of his lost love?

Welcome to the future...
Welcome to Technobabylon


DOWNLOAD IT HERE

The second episode of this apparently episodic cyberpunk adventure. With thanks to kaputtnik for the music, and cianty, WHAM and kaputtnik for their testing input!


TECHNOBABYLON 2 - Now with more rooms!

Choose the star of the next episode:
Vote here!
Never mind, the poll seems to be well and truly borked. Just drop a post on here to let me know who you want to see next!

In the real world, when I have to pry myself away from my computer/internet, I'm an English teacher in South Korea, for ages 4-15. I'm not at a state school, just a private school, where everything's done in English. Part of my job, aside from filling malleable young minds with Anglophone cultural imperialism, is giving them English names. They come to us with Korean names, and we give them something they can eventually use in the big wide world, or just use in class.

When I do it, I like to have a running theme, or at least a sense of humour about it. In my 10 year old class, two best friends joined - they are now "Sam and Max". I have one class with all the boys named after books of the Bible (Matthew, Mark, Luke, John). I've been naming another class after members of the British royal family (Elizabeth, Zara, Peter, Andrew, Charles, etc). They like those ones, they think it's dead posh.

"But Technocrat," I hear you cry, "using hilarious systems of naming is monstrous!" some complain. However, having worked here, I can tell you it's a better way of naming than their other options. After all, if the parents choose their English names for them, we end up with six Jennifers in one class, a boy called Lickey (who lives up to that name, though I'm not sure if that's just nominative determinism), and a whole host of misspellings. If we let them name themselves, we end up with boys with names like Dragon and Dinosaur (one of the other teachers let them get away with those ones), and a five year old called "Racing Car". I wasn't going to argue with that one, it's an awesome name.

The school's about to have a huge redevelopment/intake, which means at least 40 new students and a lot of new classes for me. However, that also means a lot of kids without names, so I wondered what kinds of names (or even themes) you'd care to suggest! My Ameican coworkers at the school have no sense of humour about the matter, but the other Brits tend to choose names on a similarly colourful basis!

Also, here's an eldritch abomination courtesy of Kevin in my Kindergarten class. When he grows up, he wants to be a police car.

Code: ags

Having previously made use of quite a few grids in Operation: Forklift, I've decided to try and make the switch to isometric ones as an intellectual exercise. Unfortunately, because I suck as maths, I'm having trouble visualising the numbers I need to consider, and wondered if anyone could point me in the right direction. I'm looking to try and move two of the mechanisms I used in Forklift into an isometric layout. I'll just ask about one for now.

I use the drawingsurface to produce the battlefield, based on an array. Say for example, I have an int array of 100, called SqContent. Each of those ints can be 0 (water), 1 (grass) or 2 (forest). Each square is 20x20 pixels. At the beginning of the match, I tell the drawingsurface to make use of sprites to lay down tiles based on the integer of each square. After it completes the tenth, the "y" value increases, and it moves back to the first column to lay the second row, based on the array's information from 11-20.

[code]
 
    ds.DrawSurface(backup);  
  int Math;
  int TilezAcross;
  int TilezDown;
  TilezAcross=0;
  TilezDown=0;
  Math=0;
  while(Math<100){
    // Basic tiles
    if(SqContent[Math]==0)ds.DrawImage(TilezAcross*20, TilezDown*20, 16); // draw water if 0
    if(SqContent[Math]==1)ds.DrawImage(TilezAcross*20, TilezDown*20, 17); // draw grass if 1
    if(SqContent[Math]==2)ds.DrawImage(TilezAcross*20, TilezDown*20, 18); // draw forest if 2    
  
  TilezAcross++;
  if(TilezAcross==10){       // Has it reached the right edge? If yes, go down a level.
    TilezDown++;
    TilezAcross=0;
  }
  JunkMath++;
  }
  ds.Release();

}

Straightforward enough, because each square's position to draw in is 20 multiplied by which square we're on. What I can't visualise is, if we start with square 0,0 at the top of an isometric grid, what value I tell it to increase by to draw the next square. Can anyone with a greater understanding of isometrics fill me in a little on the maths? Or does someone know a good place for teaching about isometrics?[/code]

At the moment, in-game, right-clicking will deselect an inventory item (player.activeitem=null). However, I'm having difficulty replicating this while the inventory window is open. Is it likely to be something to do with the way the game pauses when the invent?  It will deselect as long as my mouse isn't over the GUI itself, though. I'm sure I'm missing something...

So, here's my on_mouse_click.

Code: ags

function on_mouse_click(MouseButton button) {

        if(button == eMouseLeft){  if(gInventory.Visible==true && GUI.GetAtScreenXY(mouse.x, mouse.y)!=gInventory){gInventory.Visible=false;return;}}
        if(button == eMouseRight){player.ActiveInventory=null;mouse.Mode=2;return;}

   if (IsGamePaused() == 1) {
    // Game is paused, so do nothing (ie. don't allow mouse click)
  }
  else if (button == eMouseLeft) {
          if(gInventory.Visible==true && GUI.GetAtScreenXY(mouse.x, mouse.y)!=gInventory){gInventory.Visible=false;return;}
      if (GetLocationType(mouse.x, mouse.y) == eLocationNothing) ProcessClick(mouse.x, mouse.y, eModeWalkto);
      else {
        if (player.ActiveInventory != null) ProcessClick(mouse.x, mouse.y, eModeUseinv);
        else ProcessClick(mouse.x, mouse.y, eModeInteract);
      }
  
  }

  else if (button == eMouseRight){
        if(player.ActiveInventory!=null){player.ActiveInventory=null;mouse.Mode=2;return;}
        ProcessClick(mouse.x, mouse.y, eModeLookat);
  }

}

Also, I had to move the " if(button == eMouseLeft){  if(gInventory.Visible==true && GUI.GetAtScreenXY" part to the top of the mouse clicking script, otherwise it didn't seem to work.

I've repurposed the "interact" cursor for my multi-purpose cursor that does everything. Left clicking will walk and interact, and right clicking will look/cancel selected inventory items.

I've only just discovered a problem that it causes - when clicking anywhere in the backdrop of a room where the player is not shown, it crashes, telling me:

Error: MoveCharacterBlocking: character is turned off and cannot be moved.

I can kind of understand *why* it's happening, but I'm not sure what I could do to my cursor script to work around it. It might just be the seizure I've just had addling my brain though.

Code: ags

function on_mouse_click(MouseButton button) {
  // called when a mouse button is clicked. button is either LEFT or RIGHT
  if (IsGamePaused() == 1) {
    // Game is paused, so do nothing (ie. don't allow mouse click)
  }
  else if (button == eMouseLeft) {
    //ProcessClick(mouse.x, mouse.y, mouse.Mode );
  if(player.ActiveInventory!=null){ProcessClick(mouse.x, mouse.y, eModeUseinv);return;}
    if(player.Room!=3){     // The main menu. I think this stopped me noticing it originally
    if(Object.GetAtScreenXY(mouse.x, mouse.y)==null && Hotspot.GetAtScreenXY(mouse.x, mouse.y)==hotspot[0] && Character.GetAtScreenXY(mouse.x, mouse.y)==null){player.Walk(mouse.x, mouse.y, eNoBlock, eWalkableAreas);return;}
    }
    ProcessClick(mouse.x, mouse.y, eModeInteract);

  
  }
  else if (button == eMouseRight){
    // right-click our mouse-wheel down, so cycle cursor
        if(player.ActiveInventory!=null){player.ActiveInventory=null;mouse.Mode=2;return;}
        ProcessClick(mouse.x, mouse.y, eModeLookat);
  }

}

Since making things with AGS involves drawing, writing, sound and scripting (or seperately as components, if you've got more than one person), everyone evidently has something they can do towards making a finished product. And, I would guess not everybody got them from studying them in an academic institution.

So, what do you know, and where did you get it from?

Personally, I like constructing the stories of games, and the blame firmly rests on the obscene amount of reading I used to do as a young 'un. My drawing still sucks, but I'm improving, I think - that's mostly coming from internet tutorials, and a lot of trial and error (emphasis on the latter).

[TECHNOBABYLON - PART II]

What is this, National Suicide Week?

TECHNOBABYLON - PART II

In the city of a far-flung place and time, a veteran Civil Enforcement agent finds the 20th anniversary of his wife's death further soured by blackmail - with the lives of their unborn children. How long will he have to do the bidding of his hidden puppeteer before it impacts upon his work? And can he add this secret to the growing array that he already must conceal from his friend and colleague?






Part two has taken me a month thus far, but I intend to have it completed by the end of November at the latest. More than just one room, we're going for a wider perspective of the city than the narrow view of a shut-in girl.

Graphics and planning will be wholly finished by the end of tomorrow, so I ought to have something mostly playable by the end of next weekend

Graphics: 100%
Sound and Music: Under construction, courtesy of kaputtnik
Gameplay: 95%


- Having learned lessons from last time, I'm going to see about getting people to actually test it this time around, so if you'd fancy a sneak preview, I should have something testable by the end of Sunday the 21st.
- Also looking for a provider of better music than I'm currently capable of raking up by myself!

Estimated release: Before 2010 is done!

See you in the future...

Having had a little more practice, I'm taking another stab at outdoor scenes. Namely, this balcony poking out from the side of a skyskraper (it's supposed to be curved, no need to worry about that).



What I'm most concerned about it trying to give the impression of the sheer height above ground of this balcony. I decided to make the ground dark because it's sunset, but also because every attempt I make at lit roads looks like crap.

My thanks in advance!

[====================================Operation: FORKLIFT - A turn-based strategy ====================================]

====================================

Operation: FORKLIFT

  - A turn-based strategy

====================================


The tiny island-chain republc of Vontinalys has been seized by the merciless forces of the Socialist People's Union for Democratic Democracy (S.P.U.D.D.) following the outcome of its first free elections. As a new commander for the League of Nations you must help to lead their elite peacekeeping force, the White Helmets, to victory over the tyrannical military despotism that has ensnared this nation. All the while, getting around the somewhat overinflated ego and reputation of your own leader, Colonel Kraft.





A turn-based strategy inspired by games like the Nintendo Wars series (Advance Wars, Famicom Wars, etc), and the handheld version of EndWar. Featuring:

- strategic/tactical gameplay built out of a system for adventure games, with considerations such as terrain, flanking, and supply-line replenishments.
- seven different units to deploy
- singleplayer campaign, skirmish mode, and two-player hotseat gameplay as either SPUDD, or the League.
- four different endings!
- brilliant soundtrack composed by ShiverMeSideways
- 20% more bears than the next leading strategy!
- In-game editor to craft your own battlefields - which you can then share with your friends!

Your Game Community Needs YOU - SIGN UP FOR ACTION TODAY

Or get it from Gamejolt here!


With thanks to ShiverMeSideways for the soundtrack; Jim Reed, Mr Matti and Monsieur OUXX for playtesting!

So go on - get to the battlefield! The people of Vontinalys are counting on you!

Right now, as a background effect, I've got a number of objects, that move down across the screen (like the "code rain" effect in the matrix"). Essentially, hey do this by increasing their "y" value every cycle, and when they reach a certain value (the bottom) they move back up to the top and begin again. This is all well and good, except that I've found when somebody says anything, all of the objects freeze still. I assumed that this was because the speech was blocking the rain from dropping.

Is there a better means you could suggest to make 30 or so objects move like this, or am I going to have to build characters instead and get them to "walkstraight" in the background?

[Operation: Forklift]

It's the future; it's dark; it's dank; it's decadent; it's
Technobabylon





I'll just go and speak to the building manager...it'll be alright...

Bumped out of her comfortable addiction to a simulated world, Latha Sesame finds herself physically and digitally trapped within the confines of her state-provided slum apartment, disconnected from the outside world.

As the single unknowing flaw in a grand and sinister scheme, can she escape before those plotting can correct their mistake?

FIND IT HERE ON AGS

OR HERE ON GAMEJOLT I DON'T MIND REALLY EITHER WAY

- short adventure set in the future
- my first foray into making adventure games with AGS. I feel so dirty.
- a test of what I can manage to make in nine days


...and before you ask where Operation: Forklift has gotten to, not to worry. It's essentially done as well. Just had to do this to stop myself going mad.

After making goodness knows how many characters for games that never got completed, I think my understanding of the human body shape is improving. On the other hand, I don't think my grasp of shading at the pixel level is keeping up with it. Granted, I can now see what a difference it makes to a character to has any degree of shading at all, but I have difficulty visualising how things like the shape of clothing dictate where to splodge all that darker colour.

Any input appreciated!

In adventure games, there will always be people who are having a second playthrough of a game, or are making use of a walkthrough. Sometimes, they may find themselves, because of their own knowledge, getting a character to do something that the character themself, at this stage, has no good reason to know about needing to do.

For example, Billy needs to cut a piece of rope, but to do that, he needs to have taken the teeth out of a lion in a different room.

Should Billy therefore be allowed at any stage to de-dentify that lion, just for the hell of it, only to then find what he's acquired is useful? Or do you prefer it when the character objects to that kind of thing (e.g. "What the hell would I need the lion's teeth for?!") before later finding out the reason.

Granted, silly example, but hopefully from it people can see where I'm coming from in terms of characters saying no to actions that they themselves would not yet find logical and reasonable.

So, you're now living in a world in which none of the religions that are currently considered "major" ever took off. Rome crushed the Jews, Buddha had a stroke at a young age, whatever you will. The result of this is that the older pantheons are still hanging around, and it's the socially normal thing to do to choose one particular deity (or maybe a couple) as your patron. Perhaps chosen in youth by your parents as part of their aspirations for you, or later in life by yourself.

So - which deity is yours? Any religion/mythology you like, provided it's not one of the big ones in the real world.

Me personally, it'd have to be Mercury. A Roman god who represents creativity and clarity, they're the kind of goals I strive for. Additionally, since my father left the Royal Signals (army), every time I've seen his old beret, it has a little badge of Mercury on it, as the messenger of the Gods. Always makes me think of the inspiration my father was.

AGS has an excellent subforum for comments and critique, but for something I think I may start soon, I'll need to look elsewhere. I've a story that I need to see if it makes logical sense to people, but I don't want to start blaring about it here on the AGS forum - after all, it'd ruin the twist to the people who are most likely to play it.

So, can anybody recommend other places for helpful advice on the content of stories? Something like fiction websites, for example.

So, after graduating with your BA in history of art, you've been scrabbling around desperately looking for work. You've managed to seize a reasonable paper-pushing job working for a finance company. The work isn't hard, it pays about £18,000 P/A (or whatever a low-ish desk-jockey earns in your part of the world), the benefits and environment are nice, and the colleagues are friendly. You're not quite sure what the company itself does, but they don't ask a great deal of you.

Eventually, you come across documents showing that the company are involved in some incredibly unethical activity. Think "Quantum" from James Bond. Things like causing droughts to drive local populations away and enable business exploitation of rural South America, or the sale of armaments to African warzones. Actions which, while having no direct bearing on you, are likely to lead to the death, sickness, or homelessness of thousands around the world, to further business and political goals of their clients.

Your position is but a cog in the machine. Your job involves making sure that all the t's are crossed and i's are dotted, and your departure from the company would result in someone replacing you. Having found out what the company does though, how would you act with your new knowledge?


a) Quit as soon as I can, and take whatever evidence I can to blow the whistle.

b) Quit for bland, generic reasons, not letting them on to your knowledge (e.g. I need to spend more time with my mother, etc)

c) A job's a job - put effort in, and keep at it with a good work ethic. It's not like it affects me too much, after all.

d) Be the best damned employee I can be. After all, if I prove my worth around here, I could be rich sooner or later! Or end up calling the shots.

e) Something else

I think I've been improving at making small vehicle sprites look like they're supposed to, but I still suck at making vaguely realistic-looking people faces. Here are my current efforts portraits used for speech.

Colonel Kraft:



Private Peces:



Alexei:



It's their faces that bother me the most. I can't figure out giving them more facial detail without it starting to look like an absurd, blotchy mess. Any help would be muchly appreciated!

I've dug through the forums and found things relating to the maximum size of rooms before. The common complaint is that when the room gets too large, the game slows down dramatically, and this has been blamed in the other threads on the pathfinding system. Slowdown is the problem I'm having, so I had a couple of questions about the pathfinding.

Firstly, is there any means by which I can disable?

Secondly, how important is it for the movement of a unit? If I had absolutely no obstacles, and all characters and objects were non-solid, am I right in thinking that the pathfinding would be unnecessary for a simple movement like WalkStraight?