Tag Archives: indie games

Looking at it like this

Here’s a blurb I wrote for a writing discussion elsewhere to describe the way I handle the “chosen one” trope in Scout’s Journey, but I thought better of it and posted it here for your amusement and to jog my memory. Because I found this the first pretty apt description of it that I wrote. It almost gives me a new perspective.

“She is brought in unaware by forces outside her control, who intend her to be a sacrifice to a Big Bad. The player learns this before she does. Along the way, it turns out that she does have a skill, making friends with people who looked like certain enemies, thus kicking off a conflict in the enemy faction which ends up helping her. Through sheer curiosity, she makes contact with someone who is equally lost, and who turns out to be Big Bad’s nemesis. She only learns this through open-mindedness and careful listening. The prophecy comes in the form of a children’s story. This nemesis has to be freed from an age of imprisonment; as for what she ends up having to do, she only understands right when Big Bad gets his paws on her.”

In other news, I got the flu, and it sucks. I forgot how much it sucks.

Take care guys, and whack a nazi for me when you see one. Seriously, what’s going on with the world?

 

 

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Yep, why not have two

It has recently come to pass that another conlang (artificial language) was added to Scout’s Journey. There are two talking alien factions, so…

It’s an interesting challenge to make aliens talk believably. Luckily, the two factions are quite different; one is militaristic, invasive and arrogant, the other is comparatively peaceful and spiritual. I find these two contrasting characters make it easy to form words and sentences that have different tones to them.

Here’s some examples from Language A:

 

HASTINGS
(at the top of his lungs)
Etoye, ido ota’a dulzug, ashide sharug’a!
Listen, we are not enemies, we are allies!

 

ABBOT
Hasuka’a gise gosiden.
Praised be the Eater of Stars.

 

VANDRELL
Ashik dor dulzug’a.
See, the enemy is there.

 

BORTAS
Hata, shidu ota dolyug.
Yeah, it’s an attack.

 

SCOURGE SERGEANT
Ido akocha!
Show no mercy!

 

SCOURGE SOLDIER
Falridoye asukh.
Take cover, firing.

 

And here’s Language B:

 

KINGFISHER
A silute eske onomite naanutat, omote.
The stars are beautiful tonight, Grandfather.

 

KINGFISHER
Ho kete ta?
What does she want?

 

STAR-­GAZER
(deadpan)
Kenu’t skei-­hostut etet.
She wants to find the Scourge.

 

KINGFISHER
Ho wa ketah ta?
What is her name?

 

STAR­-GAZER
Ote wa menut kite.
She who finds the way.

 

KINGFISHER
Eska minu ketah.
Good name.

 

While I wrote a bunch of grammar for the first one and tried to stick to it, I tend to just wing it with the second one. Once I write banter for their battle groups, I might have to lay down some rules though.

This might seem like overkill, but it’s actually really fun to do. And it makes the game world more plausible.

Technically, there is a third alien faction, but they’re insects. I’ll probably let them use a pure click/noise language. Maybe gestures, too.


Getting to know you

Time for an update.

There’s not much new on the Western front. I’ve been in another extensive rewriting and editing process on the Scout’s Journey script. To put it simply, it’s getting a lot better. I think it might end up really good. I’m still totally convinced of the characters and the plot. There’s gold in there, I just have to bring it out and make it shine.

Yes, it’s still a back-breaking process. It’s like going to the desert to find your vision AND learning basic survival skills at the same time.

Anyway, there’s something worth telling. I talked to a friend because I’m having trouble writing Scout’s character, especially her emotions and how she reacts when confronted with obstacles. I ended up doing a Myers-Briggs personality test and answered 100 questions while channeling Scout’s mindset, as if I was acting out her personality. Lo and behold, it was very interesting.

Scout is an INFP-T personality type according to the test. This means introverted, intuitive, feeling and prospecting, as opposed to more rational/assertive behaviour. This type belongs to the diplomat group and is called the healer or mediator. Only 4% of people share this personality.

Put simply, it could mean Scout has trouble with social activities or keeping down a regular job, tends to take things too personally and think too much of others instead of herself (in the game, she actually has a kind of performance anxiety, which is fitting). On the upside, she is guided by very strong feelings about right and wrong and can be supernaturally determined and adaptive if she actually discovers a worthy cause. She is a troubled, outwardly weak-looking person initially underestimated by others, but turns into an unstoppable guided missile under certain conditions.

Funnily enough, this is exactly what happens in the script. So I guess that is coherent and I managed to write that personality type relatively well so far without actually thinking about it in psychological terms.

The questionnaire and the analysis will certainly make her even more fun to write.

So just you know, there is progress being made, just nothing that could be expressed in screenshots unfortunately. We’ll return to that later.

Well, here’s one. Scout’s test result.

scout_personality


Musical Prison Break

This piece of music was originally done a couple years back, in a software that doesn’t allow exporting the MIDI data. Since I now work in Reaper, I had to reprogram it by hand from start to finish. The upside of this spectacle is that I can finally continue working on it.

Most of the strings part was done by the violins in the old version, because I didn’t know a whole lot about how to orchestrate things, i.e. spread them out across all the different instruments. So I wrote a violin part that should have been a viola part, and kept wondering what to do with the violas. Turns out the joke is on me.

The old version had eight instrument tracks; the new version has 23, i.e. most of the orchestra. There’s now trumpets in there, tuba, full woodwind section, solo oboe, celli, and viola. Plus the relatively new mixing and mastering chains and seperate reverb units done per section of the orchestra. Plus a decidedly non-orchestral effect: artificial stereo echo on the harp. I figure I can take some liberties like that if it adds some kick.

Best of all, I’ve got the raw data now, so FREEDOM!


Do That Again, With More Boom

Current WIP.

For those interested in this stuff and owning a working set of ears, here’s the progress:

  • Dynamics (MIDI velocity, expression etc)
  • Tempo (it varies now)
  • Mixing (clarity, separation, room)
  • Effects
  • Mastering

Channel effects: VoS BootEQ, Tesla (harmonic saturation), TDL Kotelnikov compressor on drums. EQ was mainly used to add brilliance to horns and snares. The Kotelnikov is actually a primo drum compressor IMHO, clean but punchy.

Mix effects: VoS EpicVerb (1 per section of the orchestra). Doing it per section really adds room.

Mastering effects: VoS Thrillseeker XTC (exciter), Thrillseeker LA compressor, VladG Limiter 6.

The use of a limiter makes this quite a bit louder and more even in loudness than previous mixes. This is heresy for classical music fans, but since this is a game soundtrack, I opted for loudness for the hearing impaired and to compete with booming guns.

Writing has made good progress as well. I feel I’m on a new level with my writing. Which is good and man, it’s about time all that elbow grease paid off.

Note: It recently came to my attention that Firefox may not always display videos on this blog. If that is the case for you, kindly try without Adblock for this site?


Making a 5 point perspective grid

5point_grid

From the department for weird stuff you never learned in school comes this monstrosity. A 5 point perspective is basically a fisheye-lens type view. I was curious if I could accurately construct one (most people seem to just wing it with the curved lines). Turns out it’s not really possible on paper because the radii get too big but in Mypaint or Gimp, it’s quite possible to do it with the ellipse tools pretty accurately.

You can actually see the five vanishing points here because so many lines cross there 🙂

In reality, this is really just a 1 point perspective (the center vanishing point) with curved verticals / horizontals. This is apparently pretty close to how the human eye sees things.

What’s it good for? Use as an overlay in a drawing software to create fisheye-lens effects in your (concept) art.


Sound work and thoughts on free orchestral sample packs

Tweaked and expanded theme from SJ.

Things learned:

  • Using separate reverb sends (to the same unit though) from each channel, in order to simulate brass being further back, violins more to the front etc
  • Not using extreme left/right pan to leave room for the reverb
  • Using the entire orchestra, even woodwinds…
  • Using slight compression on the drums and in mastering (yeah I know, it’s classical music but I figure people expect this from videogames)
  • Using staccato patches where necessary (makes a large difference)
  • Blending solo instruments into the sections for thickening
  • Not going full tilt on the strings all the time
  • Using an envelope in Reaper to vary the tempo on the master track

I think I’m getting better at orchestration, too. I avoid clogging up frequencies too much.

What I want to try in the future: Fader automation and tweaking the MIDI velocity and expression even more. For the most part, velocity is already varied on every single note, but possibly not enough.

Plugins I use are still Variety of Sound. I’m most impressed by the EpicVerb and the Density stereo bus compressor, which is very subtle. The simple-to-use Thrillseeker LA compressor is also excellent, it’s what I used on the drums. His EQs and exciters don’t really do it for me though. He has a delay unit that’s very cool but I can’t really find a place for that yet.

New free stuff

I learned recently that there are two new free orchestral sample packages. One is the Virtual Playing Orchestra, which is based on the excellent Sonatina, and the other is a community package from a commercial maker, Versil Studios. Both are available in the free sfz format, so use the rgc:audio sfz player or Plogue Sforzando to get them into Reaper (or Logic or whatever else MIDI software you use).

Obviously I downloaded both and compared them to my trusty Sonatina. I feel the VPO package is very polished and useable, but the samples often seem overprocessed compared to Sonatina’s, which sound more natural and restrained to my ear. Especially the trombones, I thought, sounded almost like a synth. Other samples are possibly better than the Sonatina ones (flutes come to mind). All in all, a mixed bag. When I want EQs and harmonic distortion on my instruments, I prefer to do it myself; that’s why I prefer more natural sounding samples.

The Versil package was slightly disappointing; it sounded good but not orchestral. Horns and brass in Sonatina, for example, have the ability to go “full tilt” depending on MIDI velocity – the Versil ones appeared *too* restrained for my liking. The strings were adequate but I thought there were too many unwanted noises in the loud notes. I get the impression that they wanted to create a chamber orchestra, though, so maybe that’s why it sounds pretty tame. They have some very nice vibrato patches and somesuch, though.

It’s crazy times we live in, isn’t it. Making orchestral music is now basically free. High quality reverb plugins cost less than food. How strange is that.

I’ve also begun to work on atmospheric background tracks. Those are a lot more restrained and droney than the themes. The themes are basically collections of snippets and motifs that can later be picked and used as appropriate.