Weekend Catch Up!

Tying up some loose ends…

New Characters
Here are rough designs for three more characters, all with specific roles (should they make it into the game!) I’ve tried to create one unique character for each of the game’s levels, as well as recurring characters who will appear throughout restoring health and saving the game.

The idea for the purpose of Most of the characters is that they will give Hana a flower petal, which can be combined with other petals to create one flower. Five characters in each level will give Hana a petal each, which will then make a whole. I really hope I can get this to work, otherwise they will simple have to give her a whole flower that they have found (to make it easier on my lack of coding knowledge).


Left: a guy who wears a face mask to protect himself from germs, or possibly to protect others from himself. Apparently, the lovely Japanese people wear a mask when they are ill to protect others from catching the bug.

Middle: a resident of the “pink” village- the game’s first level. He is based on Tsukimi from 51 Japanese Characters, and prefers watching the moon (“tsuki”) to the flowers. He sits high up in the mountains at the end of the level.

Right: I think this guy will appear in the next level. He is found in a hot spring, hence the lack of clothing!

Old Characters
While I’ve been working mainly on level design, I’ve also been doing character pixel-art for the characters I created a while ago.

Priesty


Monky


Panda


Sleepy


I’ll give each of these characters walking and fidgety animations so that they can move. They’re all a very similar size and shape so that I can apply similar animations to all of them.

Level Developments
I’ve started jotting down ideas for the next level I’m going to create, which revolves around Japanese forest rather than the current emphasis on mountains. The colours scheme is orange, so I have a new Kanji to work with! There isn’t so much a structure as individual features at the moment.

Draw, Animate, Code & Play etc…

Drawing
Over the past couple of days I’ve tried to prioritise sorting out my environmental tiles, but still haven’t really come to a conclusion. I tried to test out my new idea for rocky tiles with real parts of the level design, but so far can’t seem to make them work well as they do on paper! To stop myself from ending up in a rut, I’ve discarded ALL rocky texture tiles for now and replaced them with a plain purple colour, which can easily be swapped for a textured tile when I decide what it will look like!


I made a little progress with the rock pattern around cave entrances however. I considered using straight edges around rock outcrops so that straight edges around other level features wouldn’t stand out so much, but didn’t feel this worked as well as the more natural, uneven design which is closer to my previous trace design.


I tried this design here with my previous rock texture, but decided that the rocks looked better against a more plain background. Even if I bring a heavily textured tileset back for platforms, I may stick with a plainer tile for cave walls.

Whilst trying to ignore all the complications of seamless tiles etc, I’ve diverted my attention to creating more Japanese-looking objects for the level. I’ve started by taking objects I’ve already made and adapting them to suit various instances, which is great for level continuity.


Amongst these smaller features I’ve been working on some large objects inspired by specific Japanese things, like this shrine gate:


and this bridge:


Although, the reason for the bridge’s funny shape is because it follows the shapes of my platform mask tiles. I may round this off later to make it look nicer and have the character follow the tiles rather than the shape of the bridge.

And I finally got round it pixelising the small food stand that I designed about a week ago. You probably can’t tell even if you’re Japanese, but I attempted to write ramen “らめん” in hiragana on the sign!

Without the ground texture tiles, the game definitely doesn’t look as “nice” as it did before, but the more empty spaces of the level are starting to fill up. (I haven’t built the lights in this screenshot either, which is why it looks so dark!)

Animating
In time for a proper working level prototype, I wanted to get many more character animations in. Before now, I’ve simply had one continuous running animation! I’ve only created the basics so far: running, stopping, jumping and climbing ladders.

To make the character stop you could use a single frame of the character just stood still, but I like to keep the character moving to ensure the player that the game is still running! Before now, I’ve used a breathing motion by making the character move slightly up and down, but where Hana is made of so few pixels, any rearrangement of pixels results in something far from “subtle”. I think a breathing animation is out of the question, unless I find a clever way to do this. For now, I’ve created a couple of frames that make her look fidgety when stood still, and a blink frame that flashes up irregularly.




For the jumping animation I’m currently only using one frame, although I would later like to add another to differentiate the character jumping up and coming back down.

My climbing animation is currently universal, used for climbing up and down ladders. This particular animation works best for climbing down ladders, so I may later add another one which looks more like climbing up a ladder.

Coding
The main bulk of the coding I’ve done over the past couple of days has been in the character step function, which controls the way the character moves. With all the new sprite sequences, I’ve had to customise things like image-scrolling speeds for each individual animation and can no longer rely on one over-ruling command.

I’ve split character movement into two separate “modes”-one fore running, jumping etc. and one for climbing. If the player is not on a ladder or in mid-air, the player is on_ground (this is a ready-made variable that comes with the Grandma Engine.) If the player is on_ground, the rules of horizontal movement apply, including sprite sequences and player input. If the player crosses a ladder but does not climb, ie. does not press up or down, then the rules of on_ground still apply.

if on_ground && place_meeting(x,y,obj_ladder) && !keyboard_check( key_up ) && !keyboard_check( key_down ) {
can_c = false; }

But, if the player crosses a ladder and does press up or down, can_c (short for can climb) becomes true, and the rules of ladder climbing apply. This code is pretty similar to the code I wrote before for vertical movement, but I’ve added sprite sequences and image-scrolling speeds. As you can see, I’ve applied the climbing animation twice, once for each vertical direction, so if I wanted to I could use two animations that would represent each direction.

else if (place_meeting(x,y,obj_ladder)) {

vspd = 0;
can_c = true; {

if (keyboard_check( key_up ))
vspd = -S_MAX_V /4;
sprite_index=spr_hana_climb;
image_speed=.1;

if (keyboard_check( key_down ))
vspd = S_MAX_V /4;
sprite_index=spr_hana_climb;
image_speed=.1;
}

I haven’t written much other than this, but I’ve added a few lines of code for more warp objects throughout the level. This has helped me create some clarity where caves are involved, as I have created two new rooms for caves that are joined to the main level by these warp points. Now you can see a definite distinction between the outside and inside of the cave parts!

Outside:

Inside:

Playing

Adding a lot of visual features doesn’t occur easily whilst play-testing, due to the fact that in Game Maker the platforms are made of these red-block objects that cover the background imagery. They need to do this so that I can see where I’ve put platforms! But at the same time, I can’t see if I’ve made a mistake with the imagery below. So when I’m editing tiles and want to see how they look in-game, I have to add these red blocks temporarily and delete them again afterwards. One major criticism of Game Maker is that it doesn’t allow bulk actions to be applied to all instances, so each block must be added and deleted individually, which is a looooong and tedious process. My main focus is still on visuals, but I’ll build the complete level for a play-test from volunteers next week.

This concludes my lengthy summary or the past two days!

Weekend Update #3

Some More Character Designs subject to change and/or disposal


These characters are complete rip-offs of a few of the characters from 51 Japanese Characters, so are subject to name and feature changes in the future to avoid being a total copy-cat. While most of the inhabitants of the places in Hanami are effected by the so-called Hanami Crisis, I’ve picked out a few personality types who could have avoided the crisis in various ways. These characters will play very minor roles in the game, they will appear at most once per level, and simply hand over a blossom they have found, or something similar. Everyone’s doing their bit to help!
Left Character: avoided the crisis because he is a monk. Protected by spiritual powers etc.
Middle Character: avoided the crisis because he was stuck inside a Panda costume.
Right Character: avoided the crisis because he fell asleep under a table in a cafe. Details on the “crisis” are still a little vague, so I don’t know how this would have helped him, but it did. Kirainet, the predecessor to A Geek In Japan, has dedicated plenty of its Blog-space to photos of people sleeping everywhere and everywhere in Japan, it seems perfectly acceptable to just fall asleep where ever you’re standing.


I’ll be converting these characters to pixel form soon!

Character Animations
I’ve been plodding along with walking animations for the last week, but found I was taking leaps and bounds this weekend! I scanned through as many TIGsource Forum threads as I could a couple of evenings ago to find good examples of walking cycles that were a similar size and shape to my character sprites. Ultimately, I could only find things vaguely similar enough to help, but while this didn’t provide a pure reference, I was glad to see that I was on to something original. My current cycle too has a few frames which are similar to others I found, but I had to tween using my own initiative for most of the process. Here is my current Hana sprite:

I gave it a go applying this same animation to Za-chan, although it wasn’t always clear how to go because she wears a long dress and you can’t see most of her legs! I will probably tweak this if I have to use it in the game. At the moment, it’s more of a practice in applying one animation to varying sprites:

For the rest of my character animations, I will hopefully be roping in some volunteers to perform for me so that I have photo-references of people doing various actions. Finding examples of various walk-cycles wasn’t necessarily a difficult task, but unfortunately I’m going to need more than that…

Level Design
I’m currently still set on using the Kanji basis for my level design. Over the weekend I just had to grab a pen and piece of paper and get down all my thoughts on the level, what it should consist of and how it should look. It’s slightly more decipherable than previous attempts, although some of the designs cross-over quite confusingly! I tried to draw out the entire level in the bottom half of the page:

According to Peter McClory’s level design technique, the next step would be to draw this out to scale on squared paper. However, I decided to use Photoshop instead, so that the level was easier to edit! Once it’s done I’ll print and trace it as if it were drawn on squared paper. The design currently lacks detail and is not finished, but it’s given my a huge insight into the scaling of the level, which in places in completely different to how I imagined it. Here is a rough idea of the level so far:

My Plan for the rest of the week now is definitely to get this mocked up and playable in Game Maker, possibly before tracing in the details. I still haven’t settled for any particular character physics within the Grandma Engine, so I will have to make sure that the character feels natural to handle whilst working their way around this specific level. Once the layout is finalised, I’ll fill in some detail, but this is a secondary objective to getting a playable level right now.

Some thoughts on sound…
I started to play around with a piece of music creation software called PXTone. It’s a development from Daisuke Amaya, creator of Cave Story, and it sounds as though he uses this himself to make the music for his games. It’s default instruments are all very synthy, but you can combine classic chip-tune instruments with midi-sounding instruments to create something generally retro sounding, yet something original. There are a vast amount of starting instruments, which makes this program easier to get started with than other chiptune software I’ve previously used where you must create your own instruments :S So far I’ve just had a play around to see if it would be appropriate for this project, although I’m still not sure what my music source will be yet. Original music would be a huge bonus, so this is definitely on the list.

Weekend Update #2

Just a recap of the goals for the week just gone:

Continue to create and gather any conceptual work including a Game Design Document (GDD). Experiment with the Grandma Engine in order to configure it for the game. Research software add-ons and extensions which will be useful.

So…how am I doing?
I’ve managed to write and maintain my GDD pretty successfully, but “conceptual work” is currently mainly limited to character designs. Over the coming week I’ll hopefully work up a good amount of level & item designs to being some game assets, as well as continuing to work on the in-game characters. I’ve experimented with the engine to a degree, however I still haven’t worked out things like my physics settings which must be arranged soon before I start any real level design! I don’t want to design any immense jumps only to have a character who can’t reach them… As for add-ons, I’ve previously researched things like lighting engines and sound dlls, which will come in useful, however I can’t say this for sure yet! I’ll have to re-schedule this research for next week.

So what have I been doing?
Whilst avoiding doing any really ambitious game development, I’ve been working on a few more character designs. I started off by thinking about a template for male in-game characters, as so far my character-cast is looking very feminine…

The guy on the left is my “generic man” character. He probably won’t appear in the game, but is the “standard model” for all male characters to be made to (The kanji symbol means “man”). After drawing him, he got me thinking about Japanese hairstyles. In photos, you can probably tell Japanese guys from Western guys just from the tops of their hair. Japanese styles tend to be longer and frame the face, whereas the normal Western man tends to avoid this, probably because it looks quite feminine. The epitome of androgynous hairstyles is demonstrated by Japanese pop/rock-star Gackt, who inspired the hairstyle in the top right. But as well as long, straight styles, I’ve noticed that Japanese males pull off spiky styles really well! This is either the symptom or the cause of many spiky-haired anime characters, famously including Akira Toriyama’s Goku from the Dragon Ball series. However, the first example of epic spiky hair that popped into mind was Cloud Strife from Final Fantasy VII. Although not a real person, there is no match in the competition for awesome spiky hair.

From this short study on hairstyles, I moved onto my first male character…who has no hair. His working title name is Kannushi, based on the name of Japanese Shinto Priests. I’ve tried to write an extremely brief bio on all my characters in the GDD, mainly explaining why they didn’t suffer the same fate as the village locals (although details of this incident are a little hazy at best. I’m thinking of changing my original idea…) For my final GDD I’m hoping to write up a bit more on the characters, including useless information like favourite food etc.

Kannushi:
a Shinto priest who was immune to the curse, and prompts Hana on her journey.

He’s dressed in a traditional Kariginu, with traditional hat and ceremonial wand at the ready. Although he acts as Hana’s main guide throughout the game, I want him to be a silent and mysterious character, who appears and vanishes without warning. On top of this, one of my objectives is to create indecipherable dialogue between all characters, as Western and Eastern characters naturally have language restraints…


The second character I started to work on was a Maneki Neko or Lucky Cat character. I think I originally said that Hana would have a pet cat, as I didn’t want her to be entirely alone. I realised this was silly, as you probably wouldn’t take your cat on this sort of “holiday”. So the cat’s ownership has changed. Maneki Neko now belongs to the owner of the hostel which Hana temporarily stays at. Another mysterious character, at the very start of the game Maneki Neko resembles a Lucky Cat figurine. It isn’t until the “Hanami Crisis” that the cat jumps to action and leads Hana to Kannushi. Whilst not saving the villagers, Maneki Neko enjoys snoozing and dreaming of fish.

As well as this, I’ve done a little bit of graphics development, just trying to figure out how to make tiles that work. I haven’t really started any official research into Japanese buildings, but just from the research I’ve been doing so far I’m starting to get a feel for them! I made this small little Photoshop mock-up of a Japanese hostel room strictly using tiles only. It doesn’t work as a room as it has no access and no space for movement, but it only uses repeated tiles so I’ve made minor progress here.

It has however brought to my attention more proportion issues. These bunk-beds for example are 64 pixels long, which is 4x as long as my character sprites, so this little tester probably wouldn’t be suitable for a game asset.

Character Sprites: Hana & “Za-Chan”

This morning I set myself a goal to finish two sprites for the two game characters I have so far, which initially seemed like an easy task but has consumed most of my day so far. I’ve learned in the past that a good way to create a pixel-art sprite is to draw it by hand first, scan the image and reduce it in size. This blur of pixels normally roughly shapes out a sprite, which can be traced with something like the pencil tool in Photoshop and transformed into some semblance of order. If you try to use this method for a sprite measuring only 16 pixels in height, you kind of end up with a grey square. So that method was pretty much out of the question! Time to rethink.
As a cheeky starting point, I figured I could see what works well by creating a Hana character in the style of existing games. I chose four really different sprites, which have similar measurements but use really different styles.

Top left: Gomez from Fez
Top right: Quote from Cave Story
Bottom left: something from Rogueline (I don’t know much about this game but the art looks really great. Check it out!)
Bottom right: NPC from The Archer
Right: Sylva from Somnium! This was my own project, which acted as my introduction to the world of game design. Obviously, the sprite is double the size of the other examples, I just though I’d throw it in there for fun.

Hana in each of these games:

Surprisingly, I quite like the fat-girl Hana based on my previous character sprite from Somnium, and tried reducing this in size to see if it could work:

My second favourite had to be the Gomez clone, as it resembled the style I used in my original concept art cartoons. The style I chose to draw in was simply a quick way to get a good impression of a character, however the star-shaped figures seem to translate well into the pixel world. I tried to conceptualise what this style would look like in a small, simplified way which I could use to create an original character sprite!

The two characters I currently have are the main character Hana and the antagonist Zashiki-warashi, which I have abbreviated to Za-chan for now until I properly name her! The sprite designs are based on my original drawings, and things I like about my Fez and Somnium character clones. Here is my pixel interpretation of the two:

Both a prone to refinement over the next few days, as I try to animate them etc. Also, if they resemble sprites from other games too much I will have to re-think the design completely.

Yesterday, I added a little bio for Za-chan* to the GDD, which explains a lot about her past and her motives for causing mischief. It’s a little long-winded, but the story is starting to come together at least:

Za-chan chose residence in a large house in the late fifties, and decided to stay permanently due to the welcome of the family and the space and qualities of the old house. The family consisted of a married couple and twin girls, who she frequently played with when they returned from school. Za-chan felt like she was part of the family, and almost forgot her naturally mischievous nature. While Za-chan was around, the family received a hefty income, the ageing house remained in good condition and Sakura always bloomed for long periods in their garden. The parents made a Za-chan kokeshi doll as a gift for their daughters, and a thankyou to the spirit for the bringing of fortune. However, as the girls grew up they forgot their friend and often stayed away from the house for long periods of time while Za-chan started to feel increasingly lonely. One day, Za-chan decided to go outside of the house and climb a Sakura tree to see where the two girls were going. As soon as she left the house, it started to creak and warp very slightly. She continued to leave the house to watch the two girls, jumping from tree to tree and every day getting slightly further away from the house. Every day, the house would start to crumble a little more. Eventually, Za-chan became angry with the girls for leaving and never went back to the house. She stayed in a Sakura tree where she could watch people and feel less lonely, and eventually picked up her mischievous ways once more by throwing things at passers by. Her old house fell to disrepair, and the family moved away. They boarded up the house, leaving the kokeshi doll inside as they considered it a sign of bad luck.
Eventually, bored of annoying pedestrians, and ultimately more lonely than ever, Za-chan conjured up her most mischievous act yet. She burrowed into her Sakura tree and spread her consciousness out among the blossoms. As they began to fell around the crowds of people around the tree, she used the blossoms to kidnap the souls of her new “friends” and bring them to the spirit world where she could satisfy her loneliness.

*In Japan, the suffix chan is applied to the end of the name of a child, or among female friends. I’ve noticed in anime that older characters abbreviate younger characters’ names to the first syllable and add “chan”. Za-chan doesn’t have a particularly nice ring to it, but I’m working on a real name RIGHT NOW.

Xin Nian Kuai Le


Unless I’m horribly wrong and the internet has lied to me again, I may have just wished you a happy new year in Mandarin. Today’s fortune cookie told me I would make a name for myself, which is a fairly decent omen for the upcoming year of the Dragon. As a bonus, I’m up to date on my development timeline (which I will probably post soon so you know I’m not lying!) This week: Gather! (as in collecting my concept images and research, I think) and Experiment!

Zashiki-Warashi

I’ve spent most of today researching my little wrong-doer Zashiki-warashi to make sure its an appropriate choice for an antagonist. Its characteristics differ depending on the source, but there are a few constant characteristics which seem consistent in all accounts:

Zashiki-warashi takes the form of a child, boy or girl, between the ages of 3 and 12.
It prefers to live in large, old Japanese houses, and its presence is recognised from its little acts of mischief.
While it inhabits a home, the residing family receive great fortune.
Occasionally, a family member (normally a small child) will be able to see the Zashiki-warashi, but according to at least one account, only when it is about to leave.
Once the Zashiki-warashi has left, the family fall to ruin.


The Zashiki-warashi will not necessarily be placed in shrines, but I found this cute little Garden Statue which represents one! It’s though that you can attract a Zashiki-warashi by recognising its presence, so keeping one of these statues may help bring you luck. Due to the variations on the image of this spirit being, there are few visual sources on the internet, although the Hello Kitty at the top of the post is another representation!

For my Zashiki-warashi character, I’ve chosen a girl-ghost as a good adversary for my girl-hero. That way there’s no breach of male-female etiquette when it comes to conflict and in a way, they can relate to each other. Also, by coincidence the majority of the characters currently in working progress have turned out to be male, so this helps balance things out a little! I’ve tried to portray her as a good-natured being with a childish sense of mischief.

I’ve made sure to block out the eyes, as I’ve noticed in Jizou statues there’s never any eye detail. I attempted to convert my design into statue form in the top right hand corner, based on the photo of the statue I found. I somehow managed to make my drawing look more like a Kokeshi Doll than a statue, so I went with this for my colour version. The majority of Kokeshi dolls seem to have much less smiley disposition, so I used the opportunity to create something a little more sinister!
The article in the link suggests that originally the kokeshi dolls represented a “wish for a healthy child”, so my final design may well be a little wooden figure rather than a stone statue. But one with less wonky eyes and fewer graphite smudges:

Heroes & Villains

The Heroine
I’m now much closer to a version of Hana that I’m really happy with. I’ve moved away from focusing on “Western” or “foreign” characteristics, and started to think about the properties of the average tourist! Unfortunately, I haven’t had the opportunity to be a tourist for a few years now, so I’ve conjured up the ultimate tourist image using the guidelines of the internet…

  • Hat
  • Sunglasses
  • Shirt
  • Johnny Depp
  • Camera
  • Watch
  • Bag (big)
  • Shorts
  • Sandals
  • Google image search suggests that only overweight people can be tourists
  • Also, the stereotypical tourist only visits warm countries
  • I haven’t managed to apply all these to my final character design, considering the difficulties of converting small details into low-res pixel art (the character sprite will be 32 pixels tall at most). However, it would be interesting to factor some of these aspects into the inventory system- for example when she opens up her bag there could be a camera, sunglasses and a passport, which serve no purpose in the game but show that she is enjoying a sunny holiday in Japan. To apply these characteristics, I started off with a female-shaped template, which I can now use as a basis for any female character within the game. I’ve tried to put her in a few poses in order to create a little personality!

    I used the three of these images to play around with a few minor alternatives, like “shorts or jeans?” “T-shirt or jacket?” and “messenger bag or backpack?”

    (You can also see that I finally realised if I turn the brightness down to about -20 on my scanner then my scans come out a lot nicer!)
    Combine the best aspects of these ideas with the original characteristics of Western Otaku and you have my final* character design:

    *Note that I’m still toying with the idea of adding head-wear. Personally I’m a huge fan of hats, and feel I would definitely wear one on a Japanese holiday!

    The Villain
    At first I wasn’t sure if I actually wanted a “villain” in my game, or whether it would be a sort of natural phenomenon which causes disturbance. With the help of A Geek In Japan and a quick look into Japanese mythology, I’ve realised that I can pretty much combine villain and natural phenomenon together to create my “antagonist” (villain sounds too criminal for what I’m aiming for!).

    In times past, the Japanese believed that Gods lived inside Sakura trees, and just before the rice-sowing season offerings were made under the trees.

    From A Geek In Japan

    With little knowledge about the majority of Japanese mythical beings, I turned to what I knew from anime.

    In Cat Soup, the main character Nyatta travels to the land of the dead to reclaim the half of the soul of his sister, which was taken away by a Jizou. The start of the film shows that the sister Nyako is dying, and the Jizou comes to claim the soul. The soul is split in two when Nyatta tries to pull it back.

    The Jizuo in Cat Soup has a creepy fixed smile. Although it doesn’t have the appearance of a being able to deal real harm to anyone, it seems to be fairly content about its soul-stealing nature. I thought perhaps I could use a similar being for Hanami, however when I researched these beings I realised that they are not regarded as villainous. In fact, in Cat Soup he is simply doing his duty by collecting the soul of a dead child (read the Wikipedia article for more details!). In Japan, statues can be found everywhere. People place children’s hats and bibs onto the statues to provide a blessing to their children.

    A Jizuo statue is also seen in My Neighbour Totoro, when the two girls step into a shrine to protect themselves from the rain.

    While the Jizuo could be considered the main “villain” in Cat Soup, in actual fact he is not a villainous character. In Totoro, the Jizuo statue acts as protection rather than hindrance. I started to think about how I could create a similar scenario, inspired by the idea if Gods living in trees, and spirits who reside in shrines and statues. I wrote up this villain criteria list:

  • Based on, but not identical to, an existing Japanese “creature” from mythology/legend/folklore
  • A being who resides in Sakura trees, but who is recognised with a Shrine elsewhere
  • Not a representation of something “evil”, but perhaps something “forgotten” or “misunderstood” (especially going along with themes of loneliness etc.)
  • Perhaps the act of disturbance is a cry for help, or a punishment for forsaken rituals
  • Whilst researching possible candidates, I discovered the story of Zashiki-warashi, a child-like being who has the power to provide and take away good-fortune. Its child-like nature means that its statues look quite similar to the Jizuo, who is often portrayed as having child-like features. It has a mischievous nature, which could lead to the “disturbance” of Hanami. I haven’t figured out details yet, but for now I’m going to carry on with character design for my “villain”!

    Weekend Update #1

    1. Started Reading A Geek In Japan
    I originally figured I’d read this from cover to cover so that I didn’t miss anything, but decided to stop this sequence after about page 12 to look at the pictures throughout the book! Then, as my focus this weekend has been on character design, I stopped at the section titled “Japan Today” which details the daily lives of typical Japanese people.

    The section opens with an explanation of the many meanings of the word Otaku, which is commonly used throughout the world to refer to someone who is “a fan of Japanese Culture”, especially those who love manga and anime. However, in Japan it is used to describe someone who is obsessed with a certain hobby, sometimes to the point of shutting themselves away from the world to spend more time doing the things they love. I don’t think introducing yourself as Otaku in Japan would go down too well!

    2. Wrote the Game Design Document First Draft
    This is still in a vague state, but the gaps are starting to get filled in. I’ve worked on the game story a little, as well as the setting and game characters. I will hopefully be splitting the game into four short levels, which each represent a different aspect of rural Japan. I’ve also imagined up about 10 NPC characters, who will make brief appearances in the game (time-permitting). The characters are based on character types from A Geek In Japan and the personality stereotypes from 51 Japanese Characters. I’ve got a fairly good backstory drafted up, although this may change depending on the events that occur in the game:

    Hana is an arts university graduate who became depressed by the state of the economy and the lack of employment opportunities for young people. She has always been indecisive and a little unmotivated, and is confused about where to take her life after uni. She spends a year working and saving every last penny to fund a trip to Asia, in an attempt to discover what she wants from life and who she wants to be.
    Hana starts he travels in Japan, where she stays in various hostels and cheap hotels. She enjoys the atmosphere of Japan and decides that she might stay a little longer and look for work. While she still has money to spare, she decides to spend early spring in a small mountain village where she can enjoy the rural country-side before travelling to the city to seek employment. She arrives at a time when the local residents are outside, enjoying the falling cherry blossoms. The owner of the hostel tells her that the custom is called “Hanami”. Hana spends a day outside, taking photographs and enjoying the pleasant sights, but goes back to the hostel early as she feels a little uncomfortable with spending long nights out in new places. She is woken up the next morning by the owner’s concerned cat, who has taken a liking to her. She tries to find the hostel’s owner, but seems to be on her own. She takes a look outside and finds that there is no one about at all. The cherry blossoms have just started to fall…

    3. Continued Playing With Tiles
    I haven’t made any more original tiles, instead I’ve been stealing tiles from screenshots of other people’s games and rearranging them to test their flexibility. This has especially helped me to consider things like diagonal tiles which only take up half the space, and what I’m going to refer to as “floating tiles”, which are partly transparent and add small details or effects to the tiles below. Out of respect for the original artists, I’m not going to post up any of my rearranged images without permission, but I will say that I’ve had a lot of fun doing this!

    Tileset example from The Archer

    4. Continued Character Development
    I’m starting to understand my main character Hana a little better now, so I’ve been using the weekend to just casually scribble down trait updates. It’s somehow easier to create characters based on Japanese stereotypes than Western ones, as I know that stereotypes don’t really exist!

    At first, I tried to base the character on a stereotypical Western Otaku/Nerd/Girl Gamer, but just couldn’t find a perfect representation. As a protagonist, Hana doesn’t excel in bad-ass-ness, but she’s not a fragile little flower either (no pun intended). The baseball T is there to show that she has a tom-boy side, and I’ve tried to avoid anything which be better suited to a Japanese character (like long socks!)

    5. I went to the farmer’s market for the first time, but that’s irrelevant…

    Early Character Development


    Getting the character right is one thing I want to get sorted before starting to work on the visual feel of everything else in the game. I think it’s really important that the character fits into the world, but that world is also in tune with the character. Working on the character first also means that I can start to make sprite animations for early prototypes with placeholder level design. It will help give an early impression of the game without having to work out loads of individual tiles for background imagery!

    I began trying to design a character a while ago, but for the most part ended up sketching slight variations of the same thing, and it wasn’t working well or progressing. I mentioned already that I originally wanted to make the character a portrayal of a Japanese character, and found a site called 51 Japanese Characters which really helped. The site creates these “characters” based on Japanese personality stereotypes, for example your first thought of a Japanese woman may be a woman in a kimono and sandals.

    Your first thought of a Japanese man might even be a ninja.

    My original inspiration for the game character came from the Kawaii (cute) character. Thinking about David Perry’s explanation of Game Cliches, I thought the harmless, cute little girl in pink would make a good protagonist, as she looks as though she can do no wrong. Kawaii is almost completely unique to Japan, and therefore would have been good representation of a Japanese personality.

    Before I really knew what the game was going to be about, my character designs reflected this personality in a very cute, happy way. I started to develop a chibi-esque cartoon style, which was very simple to draw and provided enough detail to get the character across. As the principles of the game started to develop, my realisations of the character also evolved to be a lot less smiley and cute.


    I started to develop this idea further, but never really finished.
    Developments in character design led me to realise however that the main character should be a foreigner, a representation of someone like me who dreams of going to Japan. For a fleeting moment, I though maybe I should base the character on myself. In a way, this would be ideal. I know myself very well, and probably be able to portray my personality quite accurately! The character would be a bit of a nerd, enjoying the geeky side of Japanese culture like anime and videogames, and definitely have a natural anti-social nature. While I’ll probably be using some of these ideas, the main character won’t be completely me, and here’s why:

    Me= grumpy, dull, unmotivated, spiteful, boring. No one would want to play that game!
    Before, I concentrated on tying together a personality from Japanese personality stereotypes. Instead my character will represent a Western, nerd, gamer grrl stereotype. It’s the type of person who would love to go to Japan, and I could probably still think up an accurate portrayal of her. As for a name, I’m currently rolling with Hannah or Hana, as it’s a fairly popular Western name, but also mean flower in Japanese (hence, HANA-mi).
    As it would be cruel for the character to be completely alone, here I gave her a cat to keep her company. Perhaps I’ll add a twist that reveals the cat to be a super-villain.

    “What About Japan Inspires You?”


    Be Bamboo My Friend
    Japan is a great source of inspiration for creatives, geeks, gamers and dreamers (among others!). When I first got my Playstation, I could see that there was a difference between Japanese and Western games. The Western games I played, including Tomb Raider, Crash Bandicoot and Spyro the Dragon, were all very fun and had me playing for hours. But it was games like Final Fantasy VII and Tekken 2 that I started to get really immersed into. I felt connected to the characters and in tune with their back-stories, and noticed how relevant narrative was in gaming. Graphically, Japanese games seemed to concentrate a lot more on small background details in order to define the setting of the game. The graphics in FFVII didn’t push the limits of the hardware by any means, but as a player you could tell that each background detail had been individually placed in order to tell a story about its location. And while the game-world was set in a fantasy location, to me it had a unique feel which set it apart from games based on Western fantasy.

    The insight into Japanese gaming led to a little insight into Japanese culture. Which over the years has become an understanding of Japanese culture, and a real appreciation for how it has affected Japanese games, films and other media. One of my sincerest dreams is to visit there- I’ve already planned out a few of the locations I would visit including the Square Enix store which sells Final Fantasy merchandise, the Studio Ghibli museum and the island of Izu Oshima which is famous for its volcano suicides and played a huge role in the Japanese novel Ring. For me, I think creating a game set in a Japan-inspired location is a way of bringing the locations and culture a little closer. Games create a virtual reality which the player immerses themselves into by taking control of a character within that virtual world.

    Over the last few weeks I’ve been scribbling down little character ideas as and when they come to me, but as I’m still not sure how the game will look or feel, I never settled for anything. Because my game setting was inspired by Japan, I looked to Japanese character design in games and manga for a design solution.

    I tried to think what a Japanese character might look like, and chose a female protagonist based on the slightly feminine game concept. The Chibi style is simply a Japanese drawing technique which doesn’t involve placing a lot of detail, so for initial designs I thought it was very appropriate.
    However, in a real lightbulb moment of inspiration, I realised that this was no appropriate at all. I would like to keep a female protagonist as the main playable character in my game- as a developer I would like to reach out to female players. It occurred to me that the main character should be an outsider, someone who is unfamiliar with the environment, the customs of the people and their lifestyle. This makes the character more relatable to the player, who is also immersing themselves into the unfamiliar setting. The thoughts and feelings of the character should reflect the feelings of a tourist, slightly confused and nervous, but willing to step into an unknown world. It’s also one step closer for anyone who has ever wanted to experience what it’s like to visit Japan ^_^

    At the beginning of his Lessons From Bamboo presentation, Garr Reynolds asks “What about Japan inspires you?” I discovered this slideshow on another blog, and immediately felt peaceful while scrolling through the amazing photography. This is just one side of Japan, in contrast to its big city lights, but its one which I hope to represent as well as I possibly can, down to the smallest detail.

    You can watch the video of the presentation here, which makes explains a nice little metaphor about bamboo!

    be flexible, tough, adaptable and able to recover with even more strength, like bamboo.