Wakarimasen…

I’ve been pretty unhappy with my old dialogue system for a while for two main reasons. The first is that it didn’t actually work very well. The best I could manage was a square to appear as the player passed by a non-playable character which contained the character’s “dialogue”, as I didn’t manage to figure out how to stop the player so that a proper dialogue situation could be initiated. The second reason I wasn’t happy with the system was that it was potentially detrimental to the game itself because it was fairly resource heavy.

The idea was to use a system where the player could get the gist of what NPCs had to say, but without the NPC using words. The reason for this is for the player to get the feel of language barriers faced by people in foreign countries. You can talk all you want, but it’s mostly gestures that will allow communication between two languages. This is why I had decided to use images instead of strings of text. A similar but less vague system is used in Machinarium. In this game developed by a Czech team, images and short move clips are used in speech/thought bubbles to depict dialogue. I’d imagine this was one of the keys to the game’s success abroad, because a minimal amount of translation would have been involved to export the game!



To make a system like this in game maker requires a lot of resources. I’d already made two simple “text box” objects that could be used universally throughout, but the content would have to unique for every instance. This requires a different sprite for each talking character, and some with several sub-images if the images scroll or are animated. This also takes a lot of my time as I was drawing new images for every time a character spoke! So I’d already decided that I would change the way this works, in the interest of my time and the performance and size of the game!

To help me really refine the system and create something that actually worked well, I went to the Game Maker Community forums and found a downloadable example similar to the one in this video.


The basics for a decent system are all here, including stopping the character when dialogue is initiated, scrolling text that progresses as if the character is talking and NPC interactions. I managed to adapt the code to create a very similar yet customised system so that when the player chooses to interact with a character, dialogue is initiated inside a text box and the player must sit through everything the character has to say before they can move on. I tested the system with a basic white text box and black text to make sure it ran smoothly.


The first thing I did after checking everything through was create a new larger text box sprite to replace the abominable white square I had made. I’ve made sure the box keeps the themes of the GUI and to make it similar to the previous text box, however I’ve flipped it over so that it always sits below the character who is talking. This way, it shouldn’t ever cover up anything important on the screen.



The next thing to change was the language. I figured instead of presenting the player with decipherable images, it would be even more convoluted to present them with a written language that they couldn’t understand. This is the real deal, as if they were really in a foreign country where everything that the people said was simply a jumble of sounds (or in this case letters!) The first complication with trying to achieve this is that it’s not easy to display the Japanese alphabet(s) in Game Maker. Although Windows comes equipped with fonts designed for displaying Japanese characters, Game Maker doesn’t seem to recognise the characters as letters. In the editor, the “unknown” box appears as a substitute, which is translated in the game as a series of question marks…


So I’ve had to think of a clever way around this. Instead of using the Japanese character glyphs from romanised typefaces, I’ve found this font which displays roman letters as Japanese characters. It’s actually a replica of the typeface used in the original GameBoy versions of the Pokemon games, which comes with English, katakana and hiragana versions. Unfortunately the letters don’t seem to be in any logical order, so I’ve had to spend some time working out which qwerty key results in which Hiragana character! For example:

& = は “ha”
% = な “na”
0 = み “mi”

So if I wanted to write “Hanami is Great”, I would do so like this:

English: Hanami is great
Japanese Romaji: hanami wa sugoi desu
Japanese Hiragana: はなみはすごいです
PokeFont: &%0 & 5c* d5

I’ve written some VERY basic lines of dialogue for each character, which I’m pretty confident in translating without too much worry. With the system I’m using, each character can have three lines of dialogue which are scrolled through by pressing X on the keyboard or A on the controller. The strings for the first character are written like this:


But in-game, they appear like this:


This is Bura-san saying hello! I will still need some indicators of the objectives of the game somewhere, however I’m considering using things like sign-posts instead of direction from non-playable characters. As I’ve mentioned before, in the first conversation with Bura-san the Zashiki Warashi character is also introduced. This currently involves the screen being covered with an overlay of the large Za-chan image I made before, so the game being set fairly well from the beginning now.


By the way “wakarimasen” means “I don’t understand”, which I thought would be an appropriate blog title 😛

にほんごができます


Again, apologies for the offensive way that I try to represent a similarity to kanji… Here I’ve tried to write “Week 15: Nihongo ga dekimasu”, which roughly translates as “I speak Japanese”, which above all else is a lie, although the little bits that I do know have been pretty useful today!

One of the things I realised probably should have been given more attention in the new time plan is a main menu for the game. I realised that before I could really go on to start preparing for physical designs, I had to give the game a real identity, and this is normally seen for the first time in the game’s opening screen/main menu (where there isn’t a physical casing involved!). A while ago I started out planning ideas for the game’s logo, mainly working out typographical layout solutions to combine a simple title with a small hiragana subtitle. So far I’ve been using the typeface Dejavu Sans for pretty much EVERYTHING, from use on this blog and in my devlog videos to in-game typography (although this becomes very distorted with the anti-aliasing off). I picked the font out a while ago for the Pecha Kucha because it was clear and clean, which made it great for the presentation. I felt that it set a neat tone for the game, as I was hoping to avoid creating messy graphics, and it suits contemporary Japanese “Zen minimalism”. So I’ve rolled with the font until now, and I was also planning to use it for the game’s logo, although I did stray a little into wandering what other typefaces would look and feel like…


The one that I felt worked best was probably the first design I made where the hiragana sits on top of the title, although I wasn’t really sure about the placement of any sort of logo or icon like the sakura blossom in the dot of the i.




The other typographical ideas I had were based more on traditional Japanese writing styles. The logo for the Wii game Okami does this very well using traditional black, white and red, where the red is also a representation of the Japanese flag (if only I’d got there first…)


You’ll also notice the little red mark at the end of the text. As far as I’m aware, this is a Japanese Hanko, which is like an official stamp used as a signature in Japan. Where there is handwriting in traditional Japanese texts, you will often see a little red stamp below it to mark who wrote it. The ink used to write was traditionally black, which is why the colour scheme seems so Japanese! I felt as though I should change the Hiragana in my logo to red, and started to experiment with brush-written typefaces to compare the effectiveness in context.


The problem with introducing this style here however is that the rest of the game would be very inconsistent, and I don’t like to use more typefaces than necessary in any one project. I started to like the hand-written look of the title, but decided that I couldn’t really use the same font for the menu’s options without changing fonts throughout the rest of the game. I feel like the hand-painted style typography is more appropriate to the game than the contemporary Dejavu sans, but should be restricted to the main title and not body copy. I found another typeface called Paul’s Kanji which I felt suited the game and had a very hand-written look, so I started to experiment with some new layouts using this font. Without adapting the typeface, the logo started looking more like this:


However, I’ve adapted it slightly for legibility and to keep it simple:


I also tried this font out written vertically, as traditionally Japanese test was often written in columns:


I haven’t managed to find a similar style font for the Japanese Hiragana subtitle here yet, but I may work on drawing over this myself to keep the style going. I will either make it appear in brush strokes or in the style of a Hanko. For in game uses, I’ve created a pixel version of this logo to keep the retro themes running throughout. For the main menu screen, I’ve used a silhouette of one of my Sakura tree designs to emulate a Japanese inked painting and used the vertical style logo at one side. The image below isn’t the finished title screen, but starts to set the basis for the game’s identity which can be applied elsewhere. The spotlight-style circle shape is taken from the still images I have been drawing for the game’s introduction, and I’m planning to use a similar effect where large still images are concerned throughout the game.


When placed in the game, the “main menu” will appear in front of the tree beside the logo, giving the player the options to start, load or quit the game. For the rest of this week I want to finish this and the rest of the game’s introduction slideshow, and from here continue to use the game’s emerging identity for other game elements and physical designs. As the Font River site suggests, I would like to thank Paul for his great work.