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Darkness Revealed (Last Dive) - An underwater platformer thriller

Discussion in 'Works In Progress - Archive' started by PixelCows, Mar 2, 2016.

  1. PixelCows

    PixelCows

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    NEW UPDATE: Project Last Dive is now officially called Darkness Revealed! Learn all about it here!

    NEW REEL: Our brand new reel is out, get to know us a little better! Watch it here!

    NEWS UPDATE: We were featured in a Rock Paper Shotgun article! Check it out here!



    DARKNESS REVEALED




    Darkness Revealed is Pixel Cows' current project. It is a pixel art platformer thriller about a man who finds himself stranded at the bottom of the ocean.

    Dave is trapped and all alone, with only his diving suit separating him from the bone crushing water pressure and mysterious sea creatures around. As he explores his surroundings in search for a way back to the surface, he realizes how little he knows about this sea...




    Main features:

    -Follow Dave in a mysterious journey as he uncovers secrets from his past life and the unknown sea

    -Explore the majesty of the seas, from lively coral reefs to otherwordly underwater ruins

    -Master the unique gameplay of Dave's heavy diving suit and expand it with new items, such as the jetpack and the hookshot

    -Face huge sea creatures in epic boss battles, explore the unknown depths and discover what lies beneath the surface




    How far into development is it?

    Darkness Revealed is currently approaching the end of its Alpha 1 phase. Right now, we're focusing on having a playable demo with the game's intro and the first act. The purpose of this demo is to validate mechanics, game pacing, story elements, level design, and many other aspects. We're also working on creating a trailer as well as the game's logo, to further promote Darkness Revealed and it's strong points.

    The game is planned to release on Windows and Mac in mid 2017.




    Want to know all about Darkness Revealed?

    If you liked what you've seen here and want to know more about the game, make sure to check out our website and main social networks. The game is still in development and we're very open to opinions, so stop by and give us a shout sometime!

    Pixel Cows' Website
    Twitter
    Facebook


    Or, if you want to be among our dearest fans and receive complete updates with exclusive content, sign up for our Golden Chest Newsletter. Just one email every 15 days! Good content, interesting articles about gamedev and no spamming. And if you don't like it, feel free to unsubscribe whenever you want.

    Hope you enjoyed getting to know Darkness Revealed! We will be updating this page as the game progresses.

    Thanks for stopping by!
     
    Last edited: Dec 16, 2016
  2. theANMATOR2b

    theANMATOR2b

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    I read this post with interest and thought this is a really cool idea, about being stuck on the bottom of the sea, feeling helpless and having to survive the natural elements... kinda uncomfortable feeling of dread and helplessness.

    After seeing the conveyor belts I felt less intrigued, kinda like - oh another platformer that puts generic game elements into the game - because the game feels more 'gamey' with the standard elements added.
    A similar feeling that I get when I see a player running through the jungle collecting big gamerific glowing coins, fruit and standard shaped shiny gems.

    The conveyor platforms feel really out of place. It'd be really cool if instead of the standard 'gamey' conveyor platform there was something related to the environment of the game - maybe a jagged sea cliff outcropping that causes a natural underwater current that pushes the character - just like the conveyor platform, but more aesthetically matching the game environment.
     
  3. PixelCows

    PixelCows

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    Hi theANMATOR2b! Thank you for taking interest in Last Dive. The feeling of danger and having the ocean's natural oppression being a constant menace is definitely among our main concerns. And I can personally assure you we will always be worried with keeping a semi realistic environment so that this is what the player feels as well.

    As for the conveyer belt, I completely understand your disappointment, it is a platformer though, and we need cool mechanics to keep the level design and gameplay interesting. However, what I didn't make it clear is that all the art shown in the GIFs is temporary at this point. And I assure you we will be changing it to something that "makes sense" underwater. I am the guy in the team that is constantly bothering the other devs for logical explanations for things we put in game, ie.: we have a hookshot mechanic, which im pushing to be changed to a harpoon; coins are pearls, and so on. So I guarantee, it won't be a conveyer belt for a too long now.

    Thanks for the VERY useful feedback though, i'm happy to see other people worried about the things i've been pushing hard for :) And please comeback frequently with more opinions like those! I'll be updating regularly and answering everything! Cya around!
     
    Last edited: Mar 2, 2016
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  4. PixelCows

    PixelCows

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    UPDATE 1

    For those of you that don't know, Last Dive was originally a game made in 48 hours for Ludum Dare, which had the theme: Beneath the surface. The game was very polished by the end of the competition and won 3rd place overall. Since then, we've been thinking about remaking it with the goal of expanding the original's gameplay and executing the vision we always had for it.

    Our first steps towards that goal was to remake the original game in Unity, since the first one was made in Multimedia Fusion 2. Once that was done, we started working on things that would expand on the original gameplay: new mechanics, enemies, traps, environments, etc...

    One of the first things we did was smoothing Dave's (the main character) basic movements. We made him a bit more agile and added new mechanics to make him feel more responsive and less clunky. Even though the game is set underwater and we intend on maintaining the oppressive controls because it adds to the game's atmosphere, we don't want his movement to feel frustrating.



    We also intend on having people trying to speed run the game, so in that direction, we added a trick, that if timed right, can make Dave sprint across the ocean's floor.



    One of our main feedbacks after Ludum Dare was that you could only get trough some of the game's trap if you had positioned yourself very precisely, and that was hard since Dave could only jump. So now, we added a walking mechanic for fine tuning before a big jump or trap. The game's main moving around tool is still meant to be his jumps, but the slow walk helps a LOT with preparing for challenges.



    And at last, we gave Dave an underwater jetpack that will move him slowly and hold him in the air for a couple seconds. It's meant to help you get to that platform which you aaaalmost reached with your long jump! It's also very useful for last minute saves or just to make sure you get through a bunch of spikes safely.



    That's it for today guys, let us know what you think! Next update i'll be posting lots of new enemies we added to the game.

    Thanks for stopping by :)
     
  5. SteveJ

    SteveJ

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    ...what is he doing to that red creature in the last gif?
     
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  6. PixelCows

    PixelCows

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    He's peeing on it obviously! Hahahahah just kidding, on our initial tests of the jetpack, the particles were released downwards, so it looks a bit funny XD But we've changed it already. You'll see in future updates
     
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  7. theANMATOR2b

    theANMATOR2b

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    Maybe he can (visually) always use the underwater jetpack to make those regular jumps to visually explain his ability to be able to defy the burden of weight being underwater. This would not drain any of the jetpacks reserve power, only be a visual representation of him propelling himself up from the depths.
    For the extra boost (planned jetpack use) he can tap into a booster reserve which allows him to get that extra distance to reach higher platforms.
    Just a thought. ;)

    You mentioned revising most of the graphics, are you keeping with pixel art and just increasing the resolution of everything?
     
  8. PixelCows

    PixelCows

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    Yup, that's the plan! We're working on his particle system in this week's build or the next. So both his long and high jumps will have some kind of propulsion animation. But the reserve power will only be drained when he stays in the air for a while.

    As for the graphics, we are indeed sticking to pixel art. Some of the graphics will be completely redone, others will just have its resolution increased and minor tweaks and we're working on adding normal maps to everything to make a sweet lighting system. A bit like what's in the picture in the first post. ;)
     
  9. PixelCows

    PixelCows

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    UPDATE 2

    Hello everyone!

    As I mentioned on the previous update, today i'll be posting some of the basic enemies we recreated for the new version of Last Dive. These aren't supposed to be a big challenge on their own, but together with other mechanics, they'll surely help us make some interesting level design.

    Before we start, remember that the graphics and models shown below are temporary and will most likely change, so please don't be too harsh on it XD

    First of all, I'd like to show the moray, which waits for you to get close to attack. If you're quick enough and time it right, you can even jump over it before it attacks.



    Next, is the blowfish, its a pretty simple enemy, but we managed to program a lot of different movement patterns for it. The blowfish is a great enemy for teaching the game's basic controls and later on, combined with other mechanics, will help us make some of our most menacing challenges.




    Lastly, to wrap up our basic enemies, I'd like to show you the eel. The eel follows a certain movement pattern predetermined by us. In our map editor, we're able to set how many eels are coming out of a spawn point, how fast they move, and the intervals between one spawn and the next. This is great for breaking patterns and creating really unpredictable enemies, or at least making movement that's a lot harder to read than most movement patterns.



    That's it for today guys, thank for stopping by and please feel free to leave your feedback!
    Cya! :)
     
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  10. PixelCows

    PixelCows

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    UPDATE 3

    Hello everyone!

    Today we'll be focusing on interaction, animation and interface elements that we've implemented in the game.

    The first thing you'll notice is that Dave has 3 HP, which will allow us to design more challenging traps, while lowering player's frustration. We also added a death animation and "game over" screen to go along with it.

    We also added minor and major checkpoints. You'll respawn at minor checkpoints if you fall into a hole. If you lose your 3 hearts, however, you'll return to the latest major checkpoint. This is an important game balancing decision that will give us much more control over the game pacing, which is essential for a satisfactory level design.



    Another aspect that ties directly into level design is exploration. We feel Last Dive's otherwordly setting calls for self-motivated exploration, but the original game was way too linear and didn't reward it in any way. In the new Last Dive, players will discover lots of interesting stuff by keeping their eyes open and searching for secrets. One little step in that regard is the addition of collectible coins, which will allow you to buy god knows what!



    As always, please remember that all art is still temporary.
    That's it for today folks, thanks for stopping by!
     
  11. PixelCows

    PixelCows

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    UPDATE 4

    Hello everyone!

    After we finished porting a completely reworked version of Last Dive's original gameplay into the Lotus Engine (our own engine built on Unity), we started playing with some less passive enemies. Different from the ones previously shown, these guys have a bigger brain. They won't follow a predetermined movement pattern, instead, they will move according to the player's position. So let's see what they are.

    Holy crab, what is that thing?
    The tiny but persevering crab is one of them - the little bastard will follow you around trying to pinch you to death. He may be a bit slow, but he's determined, so don't fool around!





    Fast and furious
    The second enemy i'd like to show is a variation of the blowfish (it will most likely be changed to a piranha or something like it later on). This guy will be sleeping peacefully on the game screen... that is, until you get close enough! It then wakes up and furiously swims in the player's direction. Gotta be fast to dodge it!



    Shark attack

    And lastly we made a sharklike creature which follows you around the screen and attacks when the time is right. Don't think its over after it attacks! It will continuously stay after you while you're in the same screen as he is.



    Thanks for stopping by guys! Hope you liked today's post!
    On the next update, ill be sharing some environmental traps which will really help us make some cool levels.

    Cya around
     
  12. theANMATOR2b

    theANMATOR2b

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    A 2-3 frame animation of the crab snapping his claws when the player runs into him would be a nice little addition.

    Piranhas are fresh water fishes. :p Angler fish are pretty menacing.
     
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  13. PixelCows

    PixelCows

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    Yup! These graphics aren't final, only used for testing. We'll add attack animation to the crab for sure.

    Haha you're right! And angler fish does seem like a great sub, it also fits the abyssal creature category Thank you for this :)
     
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  14. PixelCows

    PixelCows

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    UPDATE 5

    Hello everyone!

    Like I mentioned in our last update, with enough enemy types in place for the time being, we shifted focus to environmental traps and other things that would affect the way Dave moves around the levels, challenging players to plan their next moves carefully. Sum that with the bunch of enemies already in place, and we're in for a bunch of level design possibilities!

    Breaking (sea)Bed...
    Ok... that was a bad joke... So everyone knows what a breaking platform is, but ours is different! When you land on it, it cracks, but it only falls apart when you leave it. This isn't about moving fast; it's about moving carefully. You gotta plan your moves really well with this one. There's no coming back, so make sure you know what you're doing before hitting that jump key!





    Pointy Corals
    The thing grows over the floor and walls and is very lethal. You gotta master your jumping and jetpack skills to move around it. Some levels will have tons of these, but we're a bit forgiving, so you can hit it once or twice before you're done.



    That's it for today guys, next update i'll post some more traps and level interactions!
    Thanks for stopping by and have a nice weekend
     
  15. PixelCows

    PixelCows

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    UPDATE 6

    Hello everyone!

    Continuing on the last update's subject, today i'd like to show a couple more environmental interactions that will affect the way you play and how we build levels.

    Spitting Anemones!
    This little beast isn't really an enemy but can sure as hell spit you into sticky situations (and sometimes get you to cool secret spots too)! The anemone will suck you in when you touch it, so be prepared for anything before you get too close. The anemone is designed to test your timing skills and your ability to predict movement patterns. Gotta pay attention on this one!

    PS.: For other Nintendo fans out there: yes, we did get the idea from the almighty Donkey Kong Country, to this day one of the greatest platformers ever made! We always wanted to explore and expand on that mechanic. Last Dive has a lot of challenges that focus on timing and cadence, and the anemone also contributes in that direction.





    Conveyor Belts that totally make sense in the ocean
    We love how this trap affects gameplay and we'll work hard to make it fit our semi-realistic setting. This isn't the final art for it, we'll most likely change to a water current stream or something! Because of the time pressure, moving through a sequence of treadmills and other timing-based traps is kinda like a dance of perfectly executed movements. You'll have to be quick on your feet and plan your next jump as fast as you can, or you might falling deep into the abyssal sea...



    That's it for today guys! On the next update i'll be showing one of the most exciting features we've included in the game! We're really excited to announce this one because it will change dramatically how Dave moves around and how we build our levels.

    Stay tuned and thanks for stopping by!
     
  16. PixelCows

    PixelCows

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    UPDATE 7

    Hello, everyone!

    As I mentioned on the previous update, today i'd like to show one of the coolest features we added to Last Dive!

    Hook away!

    The hookshot was one of those risky ideas that we thought could either really enhance the game and bring a world of possibilities, or could just not work at all and have to be tossed away. We're strong believers that you can't avoid risks if you wanna create a game that has personality, so we went all in. Admittedly it didn't work perfectly at first. The hookshot's shooting direction isn't controlled by the player. When you press the key, it tries to find if there is something "hookable"in it's reach. It's somewhat complex behavior led to all kinds of bugs that took us a while to fix, but after a couple weeks of iteration it turned out quite fun! Regular ceilings and 'hookshot blocks' were only the beginning - things started to get really interesting as we coded compatible (even if not realistic) interactions with other level elements. We'll shut up for now as we don't want to spoil all the surprises, but you can check some of the craziest uses of the hookshot in the gifs below!







    As always, the art used is temporary. We might end up switching the hookshot to something more in context with our underwater theme, like a harpoon.

    Thank you for stopping by and let us know if you have any other suggestion that might work better!
     
  17. theANMATOR2b

    theANMATOR2b

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    The hook shot should add interesting gameplay elements to the game.
    Can you explain what design decisions you considered, for and against when thinking about incorporating a hook shot mechanic?
    The one visual anomaly I see is the lack in feeling like the character is underwater when the hook shot is attached. This is from the increased speed in the character swing.
     
  18. PixelCows

    PixelCows

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    Sure thing! I think it has to do with two distinct things:

    1. Our desire to avoid having the player feel too constrained after playing for a while (in the original Last Dive, Dave's hallmark timing-based charged jump matched well with the game's atmosphere, but felt too sluggish and kinda boring by the end of that 30 minutes experience).

    2. Allowing for a certain type of challenge that we feel as being compatible with the base movement mechanics. When we decided to remake Last Dive as a full-fledged game, expanding the gameplay in a way that felt coherent to the rest of the game's pacing was considered a top priority (instead of, say, simply making Mario enemies / mechanics in slow motion). We think Last Dive's gameplay has a certain flavour that revolves around timing and carefully planning your moves (instead of, say, reflex or frantic action). The hookshot (as well as the conveyor belts and ice platforms) allow us to expand on that idea by creating sequences of platforms and challenges that end up requiring an almost coreographed sequence of movements, like "ok, I'll jump on that breaking tile, jump the fish that will charge when I land and, since the breaking tile will be gone after that, instantly hook below that conveyor belt, and then swing my way into safety". Once you figure out how to tackle the challenge, it's a matter of staying calm and executing with precision. We really wanted to allow this "chain of challenges" kind of level design :)

    And yeah, thanks for the feedback, we're totally with you on the weirdness of Dave moving unrealistically fast when swinging! We are planning an alpha build soon enough where we will focus on mood and realism as much as we've been focusing on simply figuring out mechanics - and then either we'll find some visual reason for that, or we'll have to slow it down until if feels appropriately heavy. I'm betting we'll end up needing a bit of both...
     
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  19. BingoBob

    BingoBob

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    Idea: Anlger fish. from afar all you see is a shiny gold coin but once you're close enough for your light to iluminate, it reviels an Angler fish with big sharp teeth that snap at you.
     
  20. PixelCows

    PixelCows

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    That's a pretty good idea! We've been considering switching one of our current enemies to a angler fish model. But your idea is very cool for a completely new enemy. Im gonna take it to the team! Thanks for the suggestion :)
     
  21. PixelCows

    PixelCows

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    UPDATE 8

    Hello everyone!

    Quick update today, just stopping by to show you the temporary introduction we have going in our Alpha build.
    Of course it will be mover or discarded once we have the game's proper intro going. But for now, it's a nice little addon

     
  22. PixelCows

    PixelCows

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    UPDATE 9

    Continuing on the Alpha 1 development, over the last two weeks we kept adding new mechanics and traps, up to a point where we now feel comfortable with the level design possibilities. Moving on we'll change focus, but first let's talk about some of the nice little add-ons we built on the gameplay side.

    Revenge of the crab

    We added a new enemy, or a variation of an old one: the Pissed Off Crab (patent pending)! This little fella grabs a lethal spiky block and throws at you at full speed, usually ruining your speed run and your sense of self-esteem (ok maybe he's a little too hard and will have to be nerfed - but still, yeah, pissed off crabs all the way!).



    Nothing to see here, move along!
    We finally got to code secret passages - something we found that greatly enhanced and rewarded exploration, allowing us to make less linear levels. A special "fake wall" tile is used to hide these passages, which reveal themselves once you get close enough. So it can be used to hide a cave behind it or just a long tunnel leading to somewhere really cool with tons of coins or a special collectible.





    Brought your adherent shoes?
    Now this one is kinda big too, because when we thought about the ice blocks it was supposed to be just a slippery surface where the player would have a hard time controlling Dave. Turned out as a great feature for speed running through the levels (only if you really master Dave's timings, though). Ice just got extra cool (ha!) after we also integrated it with the hookshot. Dave is able to stick the hook into the ice and slide through the ceiling. All sorts of crazy level design await!



    That's it guys! Reaching this stage is a really big milestone for the game. Last Dive's gameplay is really different from any other platformers and one of the things we needed to validate ASAP was if we would manage to properly expand on it. Now we feel safe that it's fun and that it can be expanded with relatively little effort, so it's time to move on to other areas of development.

    The next big thing we want to tackle is the game's graphics. However, that will require some massive restructuring of part of our engine's technical features - specially how we handle tilesets and spritesheets.

    Next update will be a bit more technical as we show you the beginning of the process behind adding normal and shadow maps and changing our game's graphics.

    Thanks for stopping by and see you soon!
     
    Last edited: Mar 24, 2016
  23. PixelCows

    PixelCows

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    UPDATE 10

    Hello everyone!

    Like I mentioned last update, today we're gonna start showing the process behind updating Last Dive's graphics.
    In game development, every now and then you're faced with the daunting task of upgrading your technical infrastructure. Over the past three weeks, we've been hard at work upgrading how we store and access level data, how we handle animations and also most of our shading solution. If Alpha 1 was all about making our gameplay fun, then Alpha 2 is entirely dedicated to making sure we're building on top of a really strong structure. It was hard, but now we're almost over - and implementing a light solution that will allow us to start leaning towards the art direction we envision for Last Dive.

    Let there be light!

    Our first step towards Last Dive's new look was going for a new lighting system. We were always enthusiastic about what can be achieved by combining flat pixel art with normal map-powered lighting, and we're giving our first steps to enable that vision. This gif is a mockup of where we are aiming!





    So, one of the things that needed to be done beforehands was replacing our animation tech for a sprite atlas-based one (before that, we worked with individual PNGs). As innocuous as it may sound, this single move allowed for a massive optimisation on our animation workflow. Furthermore, because all animation frames of all objects are now smartly packed together, we also save up some system resources on the players' side, which is always a good thing!

    By the way, we used Texture Packer to do most of the magic, so here's a shoutout for them - great software, guys!


    That's it for now guys! Next update we'll continue to give details on the process of changing the game's graphics, as well as showing the initial results for all of this work. So make sure you check back soon to see what happened!

    Cya around!
     
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  24. PixelCows

    PixelCows

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    UPDATE 11

    Hello everyone!
    Last update we started to show a bit of the graphical changes we're doing to the game. Today's post is a direct continuation of the last update, so if you're feeling lost, we recommend catching up with Update 10 before reading this one.

    Maps all around!

    Moving on from where all animations had been properly replaced by spritesheets, we created all the additional texture maps to allow our sprites to properly react to 3D light. Two softwares were used in this process: Sprite Dlight and AutoTileGen. One just for sprites and the other for the game's tiles.

    The softwares generated three new maps for us: the normal, occlusion and depth maps. Normal maps are used for faking the lighting of bumps and dents. Occlusion maps are used to calculate how much each pixel in the sprite is exposed to ambient lights (a cheap and effective way of simulating bouncing lights). Depth maps contain information related to the distance of the surfaces of scene objects from a viewpoint.
    What they do is basically giving our rendering pipeline some additional info that allows light to properly react to each sprite's intended 3D shape. The same process was also done for the game's tilesets, therefore bringing the same effect to platforms, walls and ceilings.

    Great, so what is it all for?





    2D sprites, 3D lighting!

    Enough with the tech blabbering! Talk is cheap, so take a look at it yourself and tell us if it was worth the trouble!

    Implementing all of this in the game was real hard work and we can't wait to turn on everything and have the true graphics for this game showing up for the first time! There's still a lot of effects to work on to make the game's atmosphere and mood complete, but the texture maps are by far the biggest change of all.





    On the next update we'll show how our map editor is coming along. Don't wanna spoil it, but it's Mario Maker meets normal maps, so... pretty sweet!

    Cya guys around!
     
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  25. PixelCows

    PixelCows

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    UPDATE 12

    Hey guys! Hows it going?

    Last update we saw the conclusion of our 3D light system and normal maps implementation. Today I'd like to show you a bit of our map editor and how we built it, and you'll be able to clearly see the effects of what was shown last time.

    An engine within an engine

    When we started using Unity, one of our core priorities was to stop wasting resources every time we moved from one game to the next. Every game is a new project, but there are certain building blocks that are used every time, and using previously built technology gives you a great head start. With that in mind, we started building our core toolset of technologies, which eventually became the Lotus Engine, our custom framework within Unity! (and because we love it so much, we gave it a name and a logo as well... Yeah, we're that kind of people)



    The Lotus Engine is the tech backbone of all our recent games. Because every game also has its own specific requirements, every time we build a game in Lotus, we develop it a little more. Last Dive is the first pixel art, tile-based game we ever built on Lotus, so we embraced it as an opportunity to make a really strong editor.

    We think making levels should be easy and fun, and so we decided to create our own Mario Maker inspired level editor, creatively named...

    The Lotus Maker!



    Ok, nothing too fancy here: the work area is on the left, and a library with different types of tiles and other game elements is on the right. As we continue to create platforms, enemies and traps for Last Dive, they are neatly organized in there.

    Lotus Maker handles all repetitive work, so that we can always focus on the design aspect of things. There is also a big concern for keeping it very What You See Is What You Get, so that as we build levels, we can also get a feeling on how it's shaping up from an aesthetical point of view. On that department, you'll see that the tile borders are properly placed without the need for manual positioning. We just draw the obstacle area and the program handles the rest transparently. Realtime lighting also works in edit mode, to give us more control over the levels' mood and ambiance.



    There's also a neat automatic decoration mode. When enabled, this tool will randomly position decorative props like the algae seen above. Of course this can - and should! - be overridden by manual object placing, but this gives us a nice head start.

    That's it for now guys! Next update we'll show more of the Lotus Maker and explain some cool functions like: layers and realtime editing. If you want more frequent updates be sure to follow us on Twitter and Facebook (links in the signature)! Thanks and till next time!
     
  26. Stevepunk

    Stevepunk

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    Looks great! How did you get sprites to flip without losing shadows and having normals go funny?
    I'm stuck on this at the moment :(
     
  27. PixelCows

    PixelCows

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    Thanks! So, Unity has this thing that when you use its default flip, it breaks the way light hits the normal maps. We programmed our shader so that every sprite would also have a back side, and in that way, we still couldn't flip the sprite, but we could rotate it 180 degrees. Which would allow the normal map to still work. Hope this helps :)
     
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  28. Stevepunk

    Stevepunk

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    So you turned backface culling off to always draw the back?
    I've done this but the shader either seems to require a second flipped normal map or for me to somehow tell the shader to flip the normal map lighting when the character is flipped.

    A few shaders have been posted on Unity Answers which use the second method, but these don't have the other features of the standard shader like shadows, emission, order in layer, etc..

    Thanks for your help!
    I guess I need to learn shaders myself, or create 2x as many normal maps.
     
    Last edited: Apr 4, 2016
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  29. PixelCows

    PixelCows

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    Yes, we turned it off. And you're right, the method we used doesn't support shadows or the rest of the stuff you mentioned. It worked for us because fortunately we're not using those features.
    I wouldn't know where to begin if I had to use it. Im guessing learning shaders is the way to go. Might be a bigger time investment than making 2x normal maps, but it will surely be something you will bump into in the future.
    Good luck! Sorry I couldn't help more :/
     
  30. PixelCows

    PixelCows

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    UPDATE 13

    Hello everyone! How's it going?

    When we started the TIG Devlog, I mentioned we had been in development for a while already, and I would post the past updates so you guys could catch up.
    Well, we finally caught up! From now on, updates will change a bit. They'll be smaller and a bit more frequent than before.
    So without further ado, let's get going!

    Sea layers!

    Past update we introduced our Map Editor - The Lotus Maker. Today, i'd like to show one more cool feature it has.

    The Lotus Maker supports up to four layers at the moment. One of the basic uses of layers is for making Mario-styled platforms, where only the ground part acts as an obstacle, but not the wall or the ceiling.

    We also use it to make secret passages. Floor, entrance and coins are in one layer; the cave background is in the layer behind, and a special secret passage wall is placed in front of it. This type of wall looks almost exactly like regular obstacle walls, but it gradually fades to transparent if you try to go over it, revealing the secret area.

    This gives us a ton of possibilities on how to expand level design!



    Cya on the next update, where we'll show one last feature of the Lotus Maker!
     
    Last edited: Apr 8, 2016
  31. PixelCows

    PixelCows

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    UPDATE 14

    Hello everyone! How's it going?
    Today i'd like to show the last feature from our map editor - The Lotus Maker.

    Real time editing during play mode

    As we play the game in Developer mode, we have access to edit anything using the Lotus Maker toolbar. This means we can play the game and adjust any issues with the level design on the go. Lotus will nicely store all the changes made during play time and offer an option to make those changes definitive.
    The Lotus Maker gave us a lot of work, but now it's helping us build our levels much faster - and even better, this technology will forever be available in the Lotus Engine, meaning our next games will also benefit from it.





    That's it for now guys! Next week we'll change the subject once again and start to tackle the games graphics! If you want more frequent updates be sure to follow us on Twitter and Facebook, links in the signature.

    Cya next time!
     
  32. hippocoder

    hippocoder

    Digital Ape

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    Looks like a lot of fun. Two things slightly turned me off though:

    1. the screen shake on landing. Not sure how that ever happens with so much dampening going on under water. It made it feel like the player was not under water. I think you can still shake, just change the feel of it?

    2. the main sprite just looks like a cave man with a beard, it at no point makes me think otherwise. I think it's because it shares tone with player skin, so appears like brown hair and beard.

    Sorry if feedback is not what you're looking for but these are minor points I thought I would make rather than any real criticism of what appears to be a fun take on the metroid genre.
     
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  33. PixelCows

    PixelCows

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    Hello Hippocoder! Every feedback is valid and welcome, so thank you for it :)

    1. Yea, it's still a work in progress. We're testing things that might help our underwater atmosphere. If you noticed, some of the later gifs don't have it anymore. It was mostly there because we wanted to emphasize the diving suit's weight and limited movement. But yea, we'll adjust it.

    2. Hahaha this is an ongoing one! We've received this feedback many times before, and we will do something about it for sure. It just isn't our top priority atm. But don't worry, we'll work on it.

    Thanks once again for the feedback and feel free to make as many as you like ;)
     
  34. PixelCows

    PixelCows

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    UPDATE 15

    Hello, everyone! How's it going?

    So, last week, we were finishing our map editor and integrating some neat graphical technologies into our very own Lotus Engine. With most of the infrastructure work behind us, we're finally moving ahead and creating an alpha build for our game! With the need to create a vertical slice of our game just around the corner, it also comes the time to finally create some actual, non-placeholder art to fill our game world.

    This week we'll be showing the backstage of how we "invent" our levels, from a graphical / conceptual / compositional standpoint. Let's get started!

    What the Alpha is about

    We already have Last Dive's mechanics figured out. We have a clear proposal for level design, story, encounters, music, sounds, etc. Because Last Dive is a linear, story-centric experience, we figured that the best scope for our alpha would be to actually build a specific part of our game, beginning to end, as close to final quality as possible.

    The Alpha Demo will consist of about the first 20-25% of the game (Menus, Tutorial, and Act 1 of 3), so this is where our level concepting efforts are focusing now.

    So... what about "graphical concepts"? Why do we even do this?

    Why do concept art?

    One approach for building graphics is to simply build them when the need arises: when you need a rock, you draw and import a rock. This approach is ok for many types of games. For others, it tends to create a "Frankeinstein" feel, where parts don't really look like they belong together.

    Last Dive is centered on its story (which includes the visual storytelling of progressing through different regions of the game world), so we need to have more artistic control. We need to create and iterate on a simplified version of each level first, one that doesn't have too much detail (therefore not taking that much time to draw), but that already has much of the basic composition figured out: colors, shapes, proportions and the overall mood.

    If you're into painting (digital or not), you'll recognize this idea as what they call "thumbnailing": creating fast, small, low detail art that, once approved, can then be enlarged and rendered into a "full" concept art (or even game assets).

    A while ago we created this quick explanation for an artist working on The Journey of Eko. It shows what we aim for when thumbnailing our art.



    And down here is first example of our thumbnailing process. This one (left) was done to create Last Dive's main conceptual image (right). The one we use to advertise the game and that we're using as inspiration for the rest of the game's art. This is why the thumbnail is so important for us. Even thou they don't look exactly alike, you can notice the light, the general structure, the colors, and most importantly, the mood is the same.



    That's all for now! On the next update, later this week, we'll show thumbnails and the thought process behind two more environments from Act 1.
    Thanks for stopping by!
     
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  35. PixelCows

    PixelCows

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    UPDATE 16

    Hello everyone!

    Earlier this week we started showing our process of creating Last Dive's concept arts.
    Today, i'm gonna show some other thumbnails we made for environments from in the tutorial level and act 1 of our game.

    Creating a World

    To create Last Dive's environments and levels, we started working on really simple and low res thumbnails that told us everything we needed to know before rendering the final graphics for a game location.

    Even though Last Dive is located underwater, we're going after quite a few different types of environments to help us tell our story and so that the game always looks fresh. It's important for us to make the game locations different enough so that the player always has the feeling he's making progress. Here are a few thumbnails we concepted for the game's first act.

    The coral reef thumbnail on the left is for our tutorial area. We wanted it to feel warm, bright and welcoming (in order to contrast with the areas that will come after). On the right we have the caverns, a dark and menacing area that will be coupled with a more suspenseful moment. Notice that the level layout is the same - this is to make it easier to compare an area's mood to another's regardless of the level design itself. Only when a thumbnail is approved is that it moves on to be rendered into an actual level (or rather, an "art kit" that is used to decorate a level).



    That's it for now guys! Next week, on the next update, we'll continue to show the game's environments art process, from concept to render.
    Thanks for stopping by
     
  36. Wiremuch

    Wiremuch

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    Looking good! Love reading the descriptions behind your concept-design process.
     
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  37. PixelCows

    PixelCows

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    Thanks man! Appreciate it :)
    More to come next week!
     
  38. PixelCows

    PixelCows

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    UPDATE 17

    Hello, everyone!

    Last week, we started to show the process behind concepting our game's first environments. We talked about how we make our concepts by thumbnails, which consists of low res proposals of mood, colors, shapes, sizes, etc...
    You can see an example of it below or you can read all about it in the updates above :)



    "Thumbnailing" an actual level

    So, the big advantage of working with low-detail thumbnails is how fast and easy it is to adjust its colors and shapes until we're satisfied with the resulting mood.

    In this case, we needed to create our "Base" ocean level - that is, the "regular", non-customized segments of seabed that connect one area to another. We already had an idea of the game's intended overall look (the very first image on this post), so we used that thumbnail as a reference to get started.

    From left to right, you'll see that first we tried some more neutral, less macabre colors. We felt it became too colorful and went for a middle ground approach. Feeling that we had gotten the colors right, we went on to customize the shapes and objects to something with a more neutral ocean mood. The orange and purple fish flocks were actual decoration proposals, but also a way to "reserve" colors - that is, map a couple different colors that we felt worked well with the composition and could also be used in other props, when the time came to actually render the objects that will go into the game.



    That's it for now! Next update we'll show the end of this process and the final render of this level's art, so you can see how it compares to the thumbnail.

    Thanks for stopping by ;)
     
    Last edited: Apr 22, 2016
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  39. zenGarden

    zenGarden

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    I'm impressed byt the tools and the game is gorgeous :)
     
  40. PixelCows

    PixelCows

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    Thanks man! Appreciate the support ;)
     
  41. PixelCows

    PixelCows

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    UPDATE 18

    Hello everyone!

    Over the past updates you saw our process of concepting different environments through thumbnails.
    Trying different approaches to get a level's mood and colors right.

    Last update we showed the evolution of our base ocean concept. Today we would like to share what all those concepts led to, the final render of that environment.
    Hope you like it!

    From thumbnail to final render (+art kit)

    Once we had a final thumbnail with which we were satistied, we then moved on to actually rendering it into useable graphic assets.

    The first part is to resize the thumbnail until it has the same resolution that we use in the game, and render each object under this new increased resolution. Then we move on to creating a bunch of variations for some of the scenery objects: stuff that goes on the platforms, foreground that is placed near the camera, background objects used to compose the scene, etc.

    Below is a comparison of our base ocean level, from thumbnail to art kit.



    It should be noted that the file that is generated by this process is not an actual game scene, nor does it represent how it will look in game! In short, it's much more cluttered than any area of that level will be - that's because it contains all the environment assets that will be used in that level (algae variations, foreground options, etc, while in the actual game we'll only pick some of those elements at a time). This file containing everything that can be used to decorate one particular level is what we call a level's "art kit". When the art kit is ready, it means it's mostly a matter of importing the graphics into the engine and using it to decorate the level.

    Finally, the graphics still change a lot in the game because of the realtime lighting techniques that we are employing. We hope to be able to show that final output soon!

    That's it for now guys, next week we'll continue to talk about Last Dive's art creation process, and we'll show the final art of other levels we have already created! Hope you enjoyed this update! Cya next week!
     
    MoonJellyGames likes this.
  42. PixelCows

    PixelCows

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    Hello everyone!

    Still on Update 18's topic, here's a neat gif we did showing the art evolution of our base ocean environment.
    Hope you like it ;)

     
  43. zenGarden

    zenGarden

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    Good polishing.
     
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  44. PixelCows

    PixelCows

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    UPDATE 19

    Hello, everyone! How's it going?

    In the last update, we showed the beginning of our art production process for levels. We talked about how we start figuring out each level's visuals by doing a specific type of concept art called thumbnails - in our case, really low resolution art that helps us figure out colors, shapes and the level's overall atmosphere.

    We also showed one "rendered" image and mentioned it as being not an actual level, but rather a level's Art Kit. Today we'll go a little deeper into what an Art Kit is. Let's get started!

    Graphics' Building Blocks

    Once we are satisfied with the thumbnail version of a level, we proceed into rendering it at a higher resolution. Then we start breaking down that concept art into useable parts. All of these parts come together to form an Art Kit.

    The Art Kit is the group of assets that are provided to the level designer so that he can decorate the levels according to a previously defined art direction.

    While the art direction is mostly in the realm of the artist, and the level topography and challenges are mostly in the realm of the level designer, the Art Kit itself stands somewhere in the middle of these two roles and also the programmer's. There is a lot of technical and artistic "negotiation" happening at this stage, specially when the first Art Kit is being built. This is so that the Art Kit ends up containing assets that will fit with that level, work in the game engine and ultimately produce levels that look good.

    For Last Dive's Art Kits, we had to decide things such as: should assets be exported with blur, or should they be blurred by the engine? Will the water surface be procedurally generated in realtime, or does it need an animated texture? Should each asset be exported as individual image files, or should they be grouped in spritesheets?

    Here's a simplified example of what the base ocean's art kit consists of. Important to mention that all of this is exported separately, we only grouped in this picture to show to you guys:



    That's it for now guys, next week we'll continue to talk about the creation of Art Kits for Last Dive, and we'll explain their structure!

    If you want more frequent updates be sure to follow us on Twitter and Facebook, links in our signature! Or if you want to receive complete and exclusive updates, sign up for our Golden Chest.

    Thanks for stopping by! Cya next time!
     
  45. PixelCows

    PixelCows

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    UPDATE 20

    Hello, everyone!

    In our last update we started to explain what an Art Kit is and why it's important. Today, we'd like to show a bit of how our art kits are structured and explain each one of these layers and how they contribute to an environment's final mood. This update is a direct continuation of the last, so I suggest you read the previous update first in order to fully understand what an art kit is.

    The main elements of our Art Kits

    Here at Pixel Cows, we like to separate our art kits into different "categories" of assets. Each one of these categories represents a layer in the game view and contributes in a important way to the final outcome. Here are the main categories that we use to build the levels for Last Dive:

    Background Gradient: It's simple enough, but this is what defines the level's ambient light and fog. It tells us how dark that area will be and how far we'll be able to see into the horizon. It's also very important because it gives a visual context for all the other assets.



    Base Topography and Background Elements: These images are used to create all the landscape up to the horizon. We got a few layers of sand dunes (which are 'tileable', that is, can be placed seamlessly side by side in order to create an infinite landscape), plus big individual rocks and underwater creatures, which can be hand-placed (and programmed to move, in the case of the latter) to add variety and uniqueness to every screen



    Platforms: This is used to create the actual game zone (we like to call it the "Game Layer", as this is where 99% of the actual gameplay happens). Before we can use the platforms in our engine, though, we have to convert each of them into a tilemap - a single image containing all combinations of ground, ceiling, walls and its respective edges. Our engine's level editor is then able to use the correct image at every part of the level to create seamless platforms.



    Platform Props: These are props that are used to embellish the Game Layer, such as algae, corals, stones, schools of fish, etc. They don't affect gameplay and so they are usually thought of as being slightly behind the Game Layer. They have much less contrast than their gameplay-affecting counterparts (such as collectibles, HP drops, enemies, etc), so that the player intuitively filters them out of his understanding of the gameplay.



    Foreground: At last, we complete the area's decoration by placing more props in the foreground, or the layer closest to the camera. It's important that this doesn't block the player's view, so we have to be careful when placing it. The foreground's main purpose is to "frame" the scene and increase the level's sense of depth and tridimensionality.



    Besides the assets that are simply exported as images, there are some other important details that greatly affect visuals, but are more akin to "special effects", and therefore need to be coded through a collaboration between artist and programmer. These include the water surface (which must be animated, have perspective and remain pixel-perfect regardless of depth), animated water particles, light shafts, etc. We also use a color tone filter that affects colouring and contrast (this is what produces the final image's bluish hue). Even though these effects are done inside the engine, we like to draw them into the Art Kit too, in order to give the programmer a clear art direction to follow when coding them.



    That's it for today, guys! In the next update we'll show the creation process behind the environment for the tutorial area of the game.

    Thanks for stopping by!
     
  46. PixelCows

    PixelCows

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    UPDATE 21: A Design Approach for Creating a Level's Art (Part 1)

    Hello, everyone! How's it going?

    In the last two updates, we showed how we build Art Kits that allow us to decorate a level, and what goes into it. Today we'll share the challenging process of creating the looks for the very first level that the player sees. Our first approach didn't work and we had to rethink the whole level art. It is interesting, as it illustrates how iteration really is an integral part of pretty much every aspect of game development.

    From nice thumbnail to ugly render

    Because of the way we planned Last Dive's experience to fold out as you first play the game, we knew from the get go that our first level would have to feel bright and welcoming. We were very attracted to the idea of making it a coral reef, as it is a common scuba diving environment (feels familiar and not too threatening) and also because of all the beautiful colors they have. It was the perfect match for our first level.

    The corals started our like any other environment we work on. We created a thumbnail that captured the feeling we wanted that area to have. The colors seemed right and the light made the whole scene look warm and inviting.

    By then, we had already rendered a level (the basic deep ocean setting that sets the stage for most of the story's first act), and while doing it we made a decision to use slightly blurry backgrounds, as it contributed a lot with the game's atmosphere. When we tried to render our corals thumbnail and 'port' it to this blurry BG aesthetics, it didn't work at first because the light settings were those of very clear and translucent waters, and because of that, the background wasn't looking like it was blurry because of the water in front of it - instead, it was just looking too blurry, period. We then tried to darken it to justify the blurriness, which basically destroyed our color palette and made the level ugly and unwelcoming. At some point, it became clear that it would be easier to remake it from scratch instead of trying to fix the original idea to make it work. It's part of the job, guys. Sometimes ideas work beautifully from concept to implementation, other times you just need to take a step back to be able to take two steps forward. While working on the version that didn't work, we ended up learning a lot about the task we had - color restrictions, lighting conditions versus desired blurriness, etc - so our next attempt was really straightforward.




    Looking from another angle

    For our next attempt, we searched for a bunch of scuba diving pictures until we found one that would be just right with some basic adjustments. We wanted the background to be single coloured, to avoid the trap that ruined our first attempt, and decided on a cyan light that should permeate the whole scene and make it feel like a clear day - and later on we would make the composition more interesting by adding colorful elements on the platform and foreground objects.



    Despite the crude look of our first montage, we felt that it was going on the right direction. We felt that this color scheme would allow us to remain consistent with our 'blurry background' decision without needing to make it dark to make sense. This is important, as this is an introductory level that aims to contrast with the oppressive darkness of the rest of the game. At this stage we also started playing with different ground tiles to see what would work and find a general idea of the other props that should feel this area.

    That's it for today, guys! In the next update we'll show the rest of this creation process, as we work on the remaining rough spots to create a working render and finally put it in game!

    If you like our updates and want to be among the first to receive them complete and with exclusive content,sign up for our Golden Chest Newsletter here:http://bit.ly/1MxkyeC. Just one email every 15 days! Good content, interesting articles about gamedev and no spamming. And if you don't like it, feel free to unsubscribe whenever you want.

    Thanks for stopping by!
     
  47. PixelCows

    PixelCows

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    UPDATE 22: A Design Approach for Creating a Level's Art (Part 2)

    Hello, everyone! How's it going?

    In our last update we started working on the art for our tutorial level, which will take place in a bright and warm coral reef. Our first rendering attempt didn't go too well, and we had to rethink our strategy. Today we'll show the rest of the process and the final look for the corals. If you missed the last update, I highly recommend you read it before this one.

    The last rough spots

    After having set a new direction for our render, the next step was to find the shapes to use with this color scheme. We set for a clear horizon line permeated with some interestingly shaped rocky mounts. Because the resulting color scheme up to this point was very conservative and well controlled (basically just brown and blue), we were now able to add some bright, saturated colors all around the platforms' and foreground's objects without making the whole scene too cluttered.



    This final version of the corals looks bright, warm and colorful - and, strangely enough, much closer to the mood of the original thumbnail than what we got when we just tried to render that same thumbnail! It's welcoming and not too deep. Even the surface is visible at all times, which is a comforting visual reassurance that you could just be pulled back to your boat and take a good deep breath of fresh air anytime you want. Oh, Dave, you were SO CLOSE to the surface, weren't you?


    A first look!

    To finish this update, here's a first look at how this rendered art looks like in the game! It's not completely implemented yet (still missing water particles, light shafts and even surface, which will be recreated in Unity), but it gives the idea. It's been weeks since we started working and implementing these graphics on the game, and it's very exciting for us to finally be able to show a part of this!



    That's it for today! In the next update we'll show how the development of one environment affects and changes other areas of the game.

    If you like our updates and want to be among the first to receive them complete and with exclusive content, sign up for our Golden Chest Newsletter. Just one email every 15 days! Good content, interesting articles about gamedev and no spamming. And if you don't like it, feel free to unsubscribe whenever you want.

    Thanks for stopping by
     
    Last edited: May 26, 2016
  48. PixelCows

    PixelCows

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    Last Dive Update 23 - Designing Aspects of an Environment's Mood (Part 1)

    Hello, everyone! How's it going?

    In the last two updates, we showed the creation process behind Last Dive's very first level, the bright and warm coral reefs. Today we will show how we created a completely different environment, Act 1's final level, the caverns. Unlike the corals, which didn't work out on the first try, the caverns art creation was a lot more about nailing an area's mood and fine tuning some aspects. Let's get started!

    Creating the Caverns

    The caverns development started out like any other environment: with a concept thumbnail that tries to capture that level's mood. The caverns are a big part of Act 1. Despite not being too deep into the ocean, it's still pretty gloomy and scary. It's also where Dave will have his first boss encounter. As you can see below, with the thumbnail done and capturing the exact mood we intended for this place, we created a first render for the caverns.



    This first render was already pretty spot on. The environment is dark and vast, and our intention is to keep the player constantly under pressure of an imminent attack. To help with that feeling, we wanted this place to have very few light sources. Opposite to the corals or our base ocean, this area has no surface light because of the caves' ceiling, so that pretty much cuts out most of the lighting source for this environment. We decided this area would only have two sources of light: bright coral-like plants, which emit colorful omni lights; and big cracks on the background wall, which lets some of the surface light in. These two movable sources give us a lot of level design possibilites because we can control exactly what we want the player to see.

    Even though it looked good, however, we thought it had a bit of a fantasy or mystic feeling to it. The weird bright flowers, the purple walls and columns, the glittering floor tile and the unknown light source lighting the back wall all contributed to this feeling. Last Dive does have a mystical and enigmatic mood to it, but we didn't want it to be this early into the game. This first act is a lot more about being lost at the bottom of the ocean and the survival aspect of the game, so we wanted the environment to feel more realistic and believable.

    From Mystic to Realistic



    Based on this initial feedback, we worked on a toned down version of the caves, trying to make it match the initial thumbnail as closely as possible. The stones got more 'stone-like' colors, the light distribution got a little more realistic, and the background was adjusted to increase the sense of depth. In the first render, the further back wall had a bright color, and this made it look closer than it actually was. The overall depth of the first render was shallow, background layers didn't seem to be that far from the player. We wanted to fix this in the second render, so we worked on making the second back wall less noticeable, by making it darker and more blurry than the first.

    That's it for today! In the next update we'll show the rest of the caverns' development process and it's result in game!

    If you like our updates and want to be among the first to receive them complete and with exclusive content, sign up for our Golden Chest Newsletter. Just one email every 15 days! Good content, interesting articles about gamedev and no spamming. And if you don't like it, feel free to unsubscribe whenever you want.

    Thanks for stopping by!
     
  49. PixelCows

    PixelCows

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    Last Dive Update 24 - Designing Aspects of an Environment's Mood (Part 2)

    Hello, everyone! How's it going?

    In the last update we started working on the caverns environment. The caverns are Act 1's final level and it's an area where mood matters a lot. We want it to be dark and gloomy, and have the player feel threatened at all times. Our first render of it, was a bit too mystical, so today we're gonna show the process of toning it down and making it darker and scarier. Let's get going!

    Final Adjustments

    With the caves pretty much done, we worked on testing new things with that environment to see if we could further enhance its gloominess and depth sensation. The caverns are our first indoor setting, so it was the right time to experiment a bit and decide how to approach this kind of level. Our first test (left image) was pretty simple, we adjusted blur levels in the background and foreground layers to increase the depth. The second test (right image) was aimed at created a strong, blurry, pale layer in front of everything to simulate an underwater fog.



    After those two last tests, we thought the new blur levels worked out fine and we kept it for the final image. The underwater fog however, despite increasing the feeling that the environment is actually underwater, didn't look that good. It killed a lot of the cavern's personality, so we did not apply it.

    So that was pretty much it for the caves. The final render still has a lot of the personality the first render had, but with a more realistic approach, the glittering floor and the bright plants, however, were kept, and this adds a bit to the mystical side of the place. The environment feels believable and this enhances the survival aspect of the game. The background and the blur levels contribute a lot to the area's depth, and the 3D camera parallax we have going in the game. We also made some final adjustments to some colors that felt a bit off, like the corals and columns, and called it a day.



    Importing to the Game

    To wrap it up we'd like to show you guys one last thing, a small part of this environment's art kit. If you can't remember what an art kit is, or what we used it for, we gave an overview of it in updates 19 and 20. The caverns art kit was pretty straightforward: the tileset, a few platform objects like plants and corals, some foreground columns and the background walls. For the back walls we made a bunch of cracks and cuts that were tileable and could fit perfectly with the complete wall or with other cracks. This was done for both the further wall and closer one. This gave us quite a few decoration possibilities and helps so that the level doesn't always feel the same.



    That's it for today! In the next update we'll show how developing the caverns helped us create some of the other environments left for Act 1!

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  50. PixelCows

    PixelCows

    Joined:
    Mar 2, 2016
    Posts:
    76
    Hello everyone!

    It's been months of development since we last showed Last Dive in action.
    So I thought i'd stop by quickly and you show you guys a couple quick GIFs of how's it's looking!





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