Donnerstag, 31. Dezember 2020

Developer Diary 130 - Start The New Year With Self Built Architecture

 Spent the last month working on the following locations:

 

- Forest Mansion (5 Building Segments, 25 Rooms)

- Several Forest Huts & Houses

- Forest Shelters

- Beam Structures

- Overgrown Bunker


I created them manually with UE4 Geometry. Anyone who has ever created large scale buildings and structures in UE4 knows what a nightmare this is. I created all materials and textures from public domain photographs of moss, mushrooms and wooden surfaces. I used GIMP to individually create diffuse, normal, specular and bump maps (altogether 63 textures).

Various beings with individual stories reside in these locations and their past is tied to these places. These screenshots were made during a preliminary integration test. Ideally each of these locations is a separate blueprint, that can be placed at any location throughout the entire forest.

All the models I need for these locations (apart from furniture and interior decoration of these places) is now complete.

Ready for 2021.
















Freitag, 13. November 2020

Developer Diary 128 - Raytracing & Volumetric Fog

Had some major breakthroughs this week .... all screenshots in world composition with 256 segments (7,5 km x 7,5 km) looking exactly like this, in VR on 90 FPS.







Montag, 9. November 2020

Developer Diary 127 - The Palace (Final)

82 Rooms, 82 hours of work.

Up until now I had always used pre-made gothic meshes of cathedrals and buildings to create temporary versions of the dharmapala palaces. 

This one is completely handmade, using assets from the UE 4 sun temple demo. Everything is adjusted to get the best results in VR. It looks beautiful and the rooms inside can be randomized to create various palace structures.












Sonntag, 1. November 2020

Developer Diary 126 - Architecture I

Spent almost 40 hours last week working on architecture ....  ideally all these segments can be randomized and combined at will. The biggest project right now is the palace entrance hall .... it will be the only segment that remains consistent throughout all palaces .... and it's a bitch .... so much work .... the lightmap optimization alone is insane .... 

 








 

Dienstag, 20. Oktober 2020

Developer Diary 125 - Update

 

 

- Mastered all 250 SFX

- Wrote and arranged 2 new underscores

- Ported the entire session to a new UE 4 project and reduced file size from 70GB to less than 20GB

- Created Demo Level (see above)

- Fixed various bugs in relation to collision, lighting and fog


Next steps:

- Sound Integration

- Music Integration

- Attenuation Volumes


Once the sound is in there, the next step will be to add more AI and story elements.

Sonntag, 20. September 2020

Developer Diary 124 - A New Beginning

 After 6 years I think I finally figured it out.

I have this entire universe in my mind and up until now I wanted to make it fit into a single Unreal Engine Session. But I recently started to realize, that the limitations that come with this, keep me from making any significant progress. I am too slow. I am a single person working on this insane thing, that I really want others to see. But I can't because I get held up by idiotic issues in relation to my game design. I cannot build this entire thing in a single swoop. No one can. But up until today I really thought I could.

So I'll change the rules and adjust it. I'll make it fit, so that I can actually do it.

I will not make a single large game. Instead I will split it up into many small ones. Like chapters in a book ... like books on a shelf .... each segment is highlighting a different aspect of the forest. A different environment, a different story ... but they are all part of the Bardo Thodol.

Each segment has the same UI, Controls and overall framework. All I need is a basic template and I can create one. The Dharmapalas will still rule this world. But a player will not be able to summon them all in a single chapter, and their stories and backgrounds are told throughout multiple segments.

I won't force myself into a single storyline either. Jonah could be one among hundreds of beings trapped in these woods, experiencing their own unique Bardo Thodol. Each segment could depict unresolved issues by a different person.

"What Remains Of Edith Finch" did an amazing job of story telling and text animation. I will try to study and analyze how they worked with fonts and text in the game and do my best to integrate it into the template. I have no idea how to do it, but by removing certain gameplay features while adding others, and opening up the game world fully to a single storyline I will have time to do it.

I won't need to integrate massive blueprints, I will only need specific features in each segment. And I will limit myself to those. This way I will have results much faster and I can actually complete playable content, that can be tested. This will give me feedback on my own process.

There will be a single brand of game, with many installments each ranging between 1-2 hours of playtime. But they will be constructed in a way so that players can experience them as a form of relaxation. The forest is peaceful unless you travel towards those unresolved issues, that we all carry around with us until we die. And then, once Lakini's fire is burning, the shadows appear and show us all the things we don't want to see. Elemental imbalances in our bodies take form in this world and dreams become reality.

The dharmapalas guard the laws of nature in this place. And the shadows will do everything in their power to prevent unification with the primordial light.

I can use 90% of my previous process and I have learned countless lessons along my way. I can do this.

This is the way to go.

Montag, 31. August 2020

Developer Diary 123 - The Day / Night Problem

Over the last month I have been dealing with a ton of stuff in my day to day life, such as potentially moving to a new house and a lot of work related pressure. But I was also faced with a new problem in Lakini's Woods I am not able to solve.

I thought about this long and hard: I don't want the sunlight to remain static, I want a dynamic day/night rhythm across the entire world. But when I implement this, the sun will basically rotate around the world map. It won't remain static, and the day night cycle is influenced by the position of the sun. If the sun is lower than a specific Z value, it won't be visible to the player anymore and the overall light level will decrease.

But I also want the dragon to be the one responsible for turning the day into night, and the night into day. When the sun is rotating around the center of the world map, how can I achieve this? How would the dragon be responsible for the sun's rotation, and how would his desire to remain close to the light be responsible for the sun being blocked out when it is moving? I can't find a solution to this problem yet... I feel like there's a deep connection between the rotation of the sun and the void dragon.

Initially I wanted the sun to remain static. The dragon would choose a place close to the sun and his body and wings would block out the sunlight. But when the sun is rotating and the light level is decreasing in relation to the sun's position, this system doesn't work anymore...

I thought about the void dragon sitting on top of the sun ... but all of these images seem ridiculous to me. There has to be an image, a visual representation of his dilemma... Remain close to the light... no matter the cost ....

I'm also becoming increasingly aware, that there is no way in hell I will ever be able to finish this project without a development crew. But right now I am enjoying the artistic and mathematical problems I encounter on my path. And a part of me tells me, they are mine to solve. It's less about being afraid to approach a development crew with my "baby" project, it's more about really getting into the depths of the world I created. Really reflect and work on its concept and universe and the meaning behind its individual elements. I enjoy this more than anything else.

Sonntag, 26. Juli 2020

Developer Diary 122 - Dragons





"That is where dragons come from my friend. They come from beings so lost and desperate for light that they lose their humanity, their decency, their love. Dragons are borne of the emptiness."

 Chris Terai - https://www.nderf.org/Experiences/1chris_t_fde.html (7/12/2020)

The void dragon is a manifestion of past traumatic experiences. He guards the light and stays close to it, unwilling to leave the rock he is on. But in his endeavor to stay close to the light, he blocks out the sun for the rest of the world. 

What if our mood swings are the effect of past trauma ... of a void created inside of us, by a moment of complete and total dissociation .... a part inside of ourselves is unwilling to let go of the light. But as a result it leaves us in total darkness at times.

The void dragon in Lakini's Woods is the cause for night and day. The rock he is sitting on and his enormous wings, block out the sun.