In order not to be boring, it is good to have a bit of different opponents in your game. We started with the simplest form, the sphere. What's more, it hangs in the air, so a lazy programmer does not even have to program its movement, and the animator has no legs to prepare. All this flying mine does is play with kamikaze when we get too close to it.



The second opponent is still a static model. However, this time you still need to do some movement and a shooting system. The opponent himself also has a big, clear red beam of light to show nicely where you shouldn't stand if you don't want to get in.




The third enemy, the turret, does not seem to move, but it is pointing its cannon at us. This time, instead of a sheaf, there is a warning laser, which is better not to enter.



There were several suggestions on how the fourth opponent should look and behave. After a long deliberation, we wanted to do something moving. Originally it was supposed to be some kind of spider, but animating 8 legs is not a very good idea and many more people don't like spiders than they like them. So we made something more reptile-like with a short body :)




Inherent in such opponents is the need to animate. We can create an animation that we will play sequentially, or use mathematical algorithms to move objects.




It is an animation method based on the hierarchical movement of interconnected elements. We call the parent the parent and the child the child (there are a lot of jokes about removing children in programming). The baby's movements are always relative to the parent's movement. In inverse kinematics, the limitations that we place on individual bones play an important role.





In our game, the model is composed of the main body and limbs. Each limb is divided into two fragments. This allows you to obtain the effect of bending the leg while maintaining its geometry.




Moving the legs to the points produces what looks like a walking effect, but is a bit stiff.




Instead of having to bandit everything to a specific position, it is nicely smoothed with an appropriate mathematical function.





To enrich the robot's movements, we have added more points to which the legs can move.



When a challenge is designed, it consists of 4 aspects.

1. How can you go through them?
   
2. What does it look like?
   
3. How is it sounded?
   
4. What's cool about it?

For physical opponents, this first bullet breaks down into several smaller issues:

1.Moving because the opponents can be:

• static
  
• patrolling
  
• charging
  
• followers
  
• and other...

2.The method of attacking can be:

• raycastowe
  
• physical projectiles
  
• close combat
  
• poisoning
  
• and other...

3.Disposal method:

• the entire area takes damage
  
• only specific points get damaged
  
• some points are more sensitive
  
• you have to do some swing to break the covers
  
• and other…

Do you know opponents that act differently?

Hello guys!




➡️In puzzle games, about 60-80% of all work is creating levels. In addition, an important aspect is to properly arrange the difficulty curve and create a tutorial that is not annoying.

➡️Many games are based on very specific mechanics, to which new mechanics are added. Once I had the pleasure of working on the game "inbento", the basic principle of which was to arrange the blocks of food in a specific pattern. The game starts with covering other pieces of food with food, and then evolves with new mechanics such as swapping food places.



➡️The second type of puzzle game is one that changes the mechanics of the game every level or several levels. For example, in the game "Quantum Conundrum", we start with the puzzles related to the change of weight. We get the ability to make things very light. So we can lift a safe that is normally too heavy. In the next stages, we get the ability to slow down time, for example, to pass through a propeller that is usually rotating too fast. The games with changing mechanics also include "Split".





➡️At best, the mechanics and the appearance of the level match, but most of the time it doesn't matter. The puzzles themselves are selected on the basis of the need for more open spaces or small corridors. Riddles usually take one of two forms. The first one is a puzzle to be completed in a given place. The player has a very specific task, it can be to play a specific sequence of "buttons", just like that or at a specific time (because, for example, platforms collapse). The second type is search puzzles, most often they take the shape of small labyrinths in which the elements to complete the puzzle have yet to be found.

➡️The basis for creating games is collecting inspiration. As Split is inspired by a brutalist architectural style and electronics, i.e. all types of cables and PCBs. The individual levels have cards in the project management system where we paste appropriate photos and links. We try to make the levels diverse in terms of geometry and colors. Some levels are a complex of narrow corridors, while others consist of large open areas with enormous structures connected by ducts. https://www.pinterest.at/vxd555/split-brutalizm-si-fi/



➡️For example, one of the levels is based on the theme of hanging cities. The whole thing looks like we are traversing bizarre constructions. We move on the sidewalks attached to the building, and we are protected from the abyss by a railing. We have created a separate table for this level https://www.pinterest.at/vxd555/wisz%C4%85ce-miasto/




➡️In addition to pinterest boards, we browsed reddit, twitter, instagram, artstation and websites presenting various cities, specific objects or even tourist trips.
https://www.reddit.com/r/brutalism
https://twitter.com/search?q=%23Brutalist
https://www.instagram.com/explore/tags/brutalism
https://www.artstation.com/search?q=brutalist


➡️One of the visual elements we have transferred are long columns that intersect at an angle. It is not the whole idea of ​​a level, but a single visual element that can then be placed on several levels. https://www.pinterest.at/pin/749638300473558900/





➡️The appearance of the levels can also be borrowed from other games. For example, the layout of rooms in a fragment of one of the levels was moved from the game "Timelie" for the needs of "Split". The room where the Pirx protagonist of "Split" is located is the middle room in the photo from "Timelie". You can tell by the door layout, and when you enter the respective rooms, you will be able to recognize the corresponding walls.






Where do you get inspiration for your projects from?

We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!


There are 2 types of games, the ones you can crouch and the ones you can't.
Paulo Coelho

One of the things in the game, next to elements such as stairs, elevators, ladders, doors and jumping, which cause many problems for the game developer, is the title crouching. This terse activity in the real world can be problematic at most for the elderly in the game, it is elevated to one of the first things to cut to save time and money.



To look at why this is causing problems, it is first necessary to mention what it might allow. Only 3D games will be considered because the two-dimensional games are a different story and different rules. First, crouching reduces height so they can avoid enemies or projectiles, be less visible, or enter tight spaces. These are quite easy to see benefits that work for specific types of games. Secondly, which is more problematic, getting up from a crouch increases the character. Games and their physics are often unreliable and stop working when you least expect them.

Shooters, especially first-person shooters and stealth games, must be able to crouch, but they often work on simplifications that reduce the openings to two levels. Standard openings must be the size of a door, and those smaller than the character must allow the player to crouch. Otherwise they would be considered poorly designed and frustrating the player. The standard size of the obstacle should reveal a standing person, but cover a crouching person.


How is crouching done in games? There are several approaches to this, and there is a difference between first and third person games. In the case of the view from the eyes, it is of course important to lower the camera. After all, what the camera does not see, the opponents should not notice. The transition of such a camera must be smooth so as not to cause nausea. In third person, a similar effect is often achieved by bringing the camera closer to the player's character. The perspective from behind the character, of course, requires an appropriate animation of transition between states of motion. Here, the mere movement of the camera so that no models are caught in it can be a certain gymnastics for the programmer. The second more problematic element is the change of the collision area.



What is the collision area? In short, it is a lump around the player that prevents him from falling under the floor, going through walls or punching his head through the ceiling. All those elements that are supposed to block the player's passage are the collision areas. When something is broken in them, due to the inattention of designers who forgot to insert such an area in a given place, or due to a wrong calculation made by the game engine, the character may fall under the map or be launched into the air. If the computer had to operate on a large number of more complicated bodies than capsules and prisms, its performance would drop significantly, and 60 FPS can be forgotten.


A lot of the events in the game are based on triggers. A trigger is an area where when a player or other object (which is up to the developers) appears, the game does something. That something could be, for example, a dialogue sequence. You can imagine such a situation, the player is thrown into the air to the full height. When it reaches a certain level, it bumps its head into the appropriate trigger, and a conversation starts. What if it is quite high, and our character crouches when he reaches the maximum height. Dialogue will never come on and it is hardly possible if it is only a dialogue, and not, for example, the sequence of opening the door or moving the platform, which was supposed to prevent us from falling into the abyss.



Since you know what collisions are and what problems they can cause, you can move on to what and how to do with them.
One approach is to create 2 separate collisions, one for a standing person and one for a crouch, and switching them alternately. The second way is to hold one collision and change the altitude. The problem with changing the height is that it is scaled to the center. So it is not that the height is taken from the top, but from the bottom and the top at the same time. Then the figure seems to drop a little.




The next problems are the places where the character can stand up. You have to make sure that you cannot get up when you have something over your head. Each time the character wants to get up, check if any fragment of the collision has any obstacle directly above it. What, as you can guess, can often cause various kinds of sticking into elements that should not be hammered into.

Multiplayer games have even developed a certain language with the use of simple interactions
Crouching - getting attention
Crouching on the face of a dead figure - contempt and disrespect
Jumping around - Hello, friend of the player
Shooting at you - urgent attention
Shooting at you then shooting in some direction - Go there
Punch with a fist - Move it *****
Fast turning - I'm bored
In games with no clear faction breakdowns, a few squats can mean you want an alliance

We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!

If you are interested in the essence and pretty pictures, you can skip the introduction, we will not be offended;)

When you think about who makes games, the first thing that comes to mind is the programmer and graphic designer, in the second wave, perhaps we will consider sound or music. Designers will be mentioned much less frequently, and even less frequently individual specialties. In this article, let's take a look at what is meant by the concept of graphics.

There are people responsible for three-dimensional graphics. And these are the people who make the models, but the models can be modeled by hand or carved. A graphic designer may specialize in creating elements of the environment, characters, or animals. Another person may be responsible for creating the character's skeleton, and another for the animation. Yet another one may create textures, someone may be responsible for the hairstyles. As you can see, there is a lot of it, and that's still not all. Moving from textures to more two-dimensional elements, we deal, just like in 3d, with cartoonists of characters, surroundings, or animators. We can divide 2d creators into interface designers, concept artists, or people creating details on levels.

It's hard to get closer to everything at once, so this time we will focus on one very specific person - an illustrator, and more specifically this special case of an illustrator who creates frames for fictional scenes.




The first stage of work on an illustration is technical details, i.e. all requirements that an illustration must meet. First, you need to know what you want to draw. Thank you goodnight. But seriously, it is a question of where a given illustration is to be used. In our case, these are fictional scenes, but they could be, for example, character portraits, conceptual graphics of an item or location, which will then be modeled.

The basis of the graphics that will be used in the game is, among other things, its size.




This extremely colorful graphic defines the most popular screen resolutions. Turquoise until 21: 9, pink is 16: 9, green is 16:10 and yellow is 4: 3. On the other hand, white is the common part that will be visible regardless of what screen you have. This is especially important in terms of the arrangement of significant elements. We cannot put the face of the character speaking on the turquoise field because it will be invisible to some players playing at a different resolution.

Before drawing an illustration as it was written before, you need to know what you want to draw. An example of a room description looks like this: Shield System control room. Huge Bed - Exposed (the covers are on the sides of the bed, when activated, they cover the figure lying on top of it so that only its face is visible - like a sarcophagus). Walls full of monitors and indications, one door. In addition to what is to be in the photo, it is important to know how the camera should be positioned. For this frame it is a complete set, you can see the characters from the side, the shot at the door.

Now defining the character and climate. First, Split is a cyberpunk game. Big corporations, not that far future, lots of glowing billboards, huge spaces, and omnipresent electronics and robots. Everything is a bit dark, cool, bathed in blue fog and glow, highlighted with neon lights and wires.







Starting from the earlier colors, it is advisable to divide the frame by marking auxiliary lines taking into account different screen proportions. Yes, just to make things easier. At this stage, the main color theme from which the frame will be created is also determined.



The next step is to give the location a simple outline. In this case, it is a room, so it is important to mark the walls, entrances of all kinds of bends. At this stage, it is also determined how the perspective will unfold. When you look closely, you can see that what is at the back of the picture converges to the center, and thus the observer of the scene is in the center of the room.



In the next stage, the outline of light and shadows as well as the contours of characteristic elements on the stage, such as an armchair, are created, which will be a key part of the stage.



When the individual shadows are selected, the main light point is added. Light spots and basic shadows in the direction of its incidence are painted.



After the first few smears of dark spots, it's time to deepen the shadows. Making them smoother.




The next step is texturing. But where to get textures?



The basis for interesting-looking elements is this strange-looking texture. This texture is a mix of architectural elements enriched with noise and dirt. Something like a collage. By using the proper opacity and masking function, the illustration gains depth and looks more realistic.



The formula was created on the basis of reference photos of integrated circuits. The geometric form gives the elements a mechanical character and thickens the compositions.




Cardboard created on the basis of the first, repeatedly mixed in order to obtain a new, geometric pattern that will affect the final effect by selecting the appropriate method of covering.



The previously shown textures are mixed with the color of the wall and the details are sanded down in detail. The easiest way to start is from the surfaces facing the player.




When everything that is flat and in front of your eyes has all the details, it's time to focus on the details that are at a certain angle.








The next steps involve the application of individual details such as wires or gloss. Additional lights and shadows are added, as well as details such as texture on the walls or lamps.







Now we leave the background drawing and add the main color theme of the scene. The light that gives the atmosphere and expression to the scene comes from two points. One of the light sources is behind the open door, while the other is the glare of the central monitor.



We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!

Today we're going to talk about portals!

Portals were popularized in video games by the game that is their namesake, the 2007 Portal.

Everyone knows how the portal works, you enter one place and one exit, and through the portal you can see what is on the other side.

In the game Pray (spoiler), at some point, we get a key that can destroy glass surfaces. When we approach the glass in the starting location with a panorama of the city and break it, it turns out that what is behind it is not a city, but a laboratory. From the narrative side of the game, it turns out that we were locked in the test room all the time. On the other hand, from the mechanical side, the visible city is placed in a completely different place and is only displayed on the glass, and we were physically in the room that was inside the laboratory.



For a moment I will return to the game known from previous devlogs, namely Antichamber. The whole game is twisted based on portals, teleports and wall rearranging, but here the focus is on a very specific room. At some point, you enter a room that looks like a modern art museum. There are a dozen or so boxes in this room, and their contents vary depending on which side you are looking at.


https://twitter.com/antichamber

What we created in the split, however, is a slightly different variety of portals than in Portal, and more similar to the one from Antichamber. In real life, it can be compared to a room with a Venetian mirror. When we leave the room into the open space, we actually enter another specially prepared room.




Around the Bridge there are some kind of sheets or boxes. This sheet must be applied so as to perfectly cover the view and surround the door, and at the same time not to pass through the door and other models on the stage. Otherwise it could spoil the effect of the illusion.



Without the illusion, the view from the bridge would look something like this:



Additionally, due to various types of post-processes (additional effects imposed on the camera, such as smoothing the edges or enhancing shadows), the sheet must have two layers. Without the second sheet slightly larger than the first, it would look like this:



Where are these bricks in that place coming from? They are located on the same stage as the rest of the map, however, they are far away from the place where the player himself is moving. Where there are decorations, there is a camera that reacts to how the player moves and turns. The portal model, on the other hand, marks where the image from the second camera is to be rendered.




Ultimately, we get what seems to be a contradiction to the laws of physics and space, but is in fact an image from another place, pasted in the right way.




We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!


Today we're going to talk about level design!

There are a lot of good tutorials on how to design levels. Only most of them are based on the 10 golden level design advice.


The future designer is introduced to the fact that he should set landmarks, leader lines and use many other techniques of hidden player guidance.

As Split is largely a logical game, I will focus on this logical aspect. When a "room" is created (it does not necessarily have to be one room) in which we are dealing with a puzzle, we must first create a prototype of it. It takes a long time to set up all the lights, effects and decorations, so there are some facilitations.



Before anything looks like a game, something like a virtual mockup is built, which is called Blockmesh or Blockout. It consists in setting simple shapes so as to mark where the player will be able to move. Often you can move your character in such an unfinished world in order to be able to measure individual distances or heights of elements on which you can jump.




Before anything can be built, we're going even lower, and actually I'm going down a few levels until we climb back into the blockout.


The first is an idea or research. If we already have a very specific idea of ​​what the puzzle should look like, we can go to prototyping, but if there are only some general assumptions or only some part of what will be in the game is designed, you will need to get some inspiration from other developers. Before we started designing anything to play, we had a whole list of titles: Portal, Portal 2, Q.U.B.E. 2, Relicta, The Turing Test, The Talos Principle, The Witness and Antichamber, and that's just from those 3D titles. In addition, you can find a lot of interesting speeches or articles about the mindset of people creating puzzles.

To go on to the next part of the article, we should remember the kindergarten classes because one of the most useful materials for prototyping is plasticine.

What is the advantage of designing in plasticine over creating it right away in the engine? At first glance, the virtual environment is more scalable because we have a limited amount of raw material in the real world. In addition, when we set something in the virtual world, we can immediately start the game and test. When it comes to pace, when it comes to making something in plasticine, then we have to move it to the engine anyway. However, in practice, we will never do puzzles consisting of 1000 rochs, only a few or a dozen. What's more, translating pieces of plasticine is much faster than moving individual elements of the world with the mouse. Thanks to this, we can test 15 different systems and choose one of them, which in the engine will be set by us so that it matches the appropriate distances. Putting everything in the engine so that it fits for the tests is a chore. In addition, it is usually the case that the person who creates the puzzle and the one who will stick it together in the engine are two other people. So what the puzzle designer does, he creates some diagrams, then he writes them on paper and gives them to the person who then plots them onto the geometry of the world. Thanks to prior research, the puzzles will often require a small amount of changes to the engine itself.








What is the example puzzle about? You have a kind of number pattern here, there are holes in some places. The boxes are positioned so that you can only jump on elements next to or diagonally. Before we even enter the fields, there is a written order on the walls that you will have to remember. If there are numbers 3, 6, 2, 3 consecutively, it means that first we have to jump to the tile with number 3, then 6, 2 etc.






Each subsequent puzzle using the same theme should be more difficult. At the beginning it consists of 3 elements, and it can be solved in one move, the next one has 6 elements, and it can be solved in three moves. The next puzzles as they develop will use previously known mechanisms.



What cannot be easily conveyed in plasticine is the geometry of the levels. It seems possible, but it requires a lot of raw material, and the material itself has a certain load capacity, so you cannot make too large pieces of plasticine hanging on plasticine. Instead, geometries can be drawn on paper to fit the layout of the puzzle, or you can find other material. Doing multiple levels on paper doesn't show the transitions between floors well, and some more complicated ones even require you to make extra rolls, so it's better to build it in the engine itself. Of course, there are also materials that lend themselves to the smooth creation of geometry. These are mainly various types of blocks. You can design many floors in them, they are durable and easy to make platform elements.







The combination of the geometry of the blocks along with the appropriate spacing of the improved elements gives a very large field for creating spatial puzzles that would not be achieved by any of these materials separately. Such a prepared fragment of blocks connected with properly arranged mechanisms is then converted into a blockout. If it is not ready, it goes back to the prototype phase again, if it is good enough, it goes on the road by adding visual appeal.




Finally, let me just mention that in most 2D games, physical design is not needed, because they have such an uncomplicated process of moving to the digital world that programmers prepare an editor that allows you to click all important elements easily and super quickly. Mostly this is used in puzzles with a limited map size or based on connecting layouts.





We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!

I have to apologize in advance for causing the headache. The thing is complicated because I'm going to be talking about time travel.

We are surrounded by a three-dimensional environment that is easy for us to imagine. In the games themselves, we also often deal with gameplay in two dimensions or a various combination of both. Four-dimensional games are much less common. The very idea of ​​figuring out how the world should be viewed in such a four-dimensional world is problematic.

There are 2 most common ways to interpret the fourth dimension as spatial and as temporal.


Spatial / geometric interpretation

There are games, such as Antichamber, which play with the convention of changing space. In the game, it may turn out that there may be something completely new behind the corner from which we came, and the stairs leading up lead us to the floor from which we started.



To understand this concept easily, you can imagine a flat space, a table or a piece of paper with a ball suddenly appearing on it. When the ball touches the surface, it is visible as a point in the two-dimensional world that is the surface of the table. As the ball sinks, it becomes a circle of increasing circumference, reaches its maximum size in the center, and then shrinks.



Flatland: The Movie!



There is a theory that assumes that our universe is just a three-dimensional bubble (ball) passing through the surface of time (table). The point of contact is considered a big bang while the fact that the universe is expanding means that we are still in the first half of the bubble. When we reach a certain edge, the universe will shrink.



Time interpretation

Another type of games are those that view the fourth dimension as having fun with the times. "Timelie" is an example of a puzzle that neatly hides the fact that it is a turn-based game based on a grid, under appropriately designed movement animations and precisely the time shifting mechanics. In this game, whenever our heroine is about to get hurt, time stops and we can rewind the game to the point where everything was fine. The time backward actually replaces what the undo-last-step mechanic is found in a lot of puzzle games, especially brain teasers. The difference between "Timelie" and other puzzles is that when we start to move back, our character does not jump to the previous step, teleporting to the previous field, but is smoothly transferred.



Reversing mechanics

The computer, like people, cannot go back in time, so game developers have to do what they always do, that is, deceive the player by selling him a "fairy tale" that what he sees is just turning back time.
What game developers do is employ a secret technique known in most software by the shortcut Ctrl + Z.

How is such Ctrl + Z constructed? For example, let's take a graphics program.
When we draw a straight line, we do not save the entire previous image and the "after change" image.
The program only saves the colors of pixels that have changed. After all 10 lines were drawn, of course, we wouldn't be able to jump straight to the picture before drawing the lines. We would have to step back line by line to reveal the original drawing, with CTRL + Z used 10 times.

Why can't we save all ten versions of the image and what it looked like at the beginning? The problem is the amount of available memory on the computer. A single FULL HD image (1920x1080 pixels) may take up to about 150 KB to 1 MB, depending on the storage method. On the other hand, information about changes from a dozen bytes to, of course, in some extreme situations, the same as the image, but usually several dozen bytes or 1 KB. How easy it can be counted is a few hundred or several thousand times less occupied space.

Since our real time and time in the game are always moving forward, what actually happens when turning back time is pasting the last steps. It is the same as going backwards parroting all our movements from the end.





1.Beginning of Fraud:
We also don't save the entire game in games. Since we cannot go back in time all hundreds or thousands of objects that are around the player, we choose only those for which it is important. These are usually all characters, doors, moving platforms, items or elevators. Worse, if the game contains destruction of the environment and particles splashing in all directions. What we will need is the position and rotation of the elements in the world. With characters, there is still a need to remember what animation they are playing and information such as when he shot.


2. Continuation of the fraud:
Sampling is another major segment of operation of such a system. The whole thing is how often we should save the player's position. There are also 2 approaches to the topic here. The first is to choose a fixed amount of time, which is the saved position and the other things mentioned above, but for the sake of simplicity I will call it the position. Such a state should, at best, save as often as the frames on the screen are changed, i.e. the famous 30 and 60 FPS, although many people also like to set as much as the factory gave. In practice, we don't need that much accuracy and we can save every other frame or some other constant amount. The second way is to save only the changes. So when the character is only standing, the game saves the moment when we did nothing and waits for our action, and when we move, as in the previous case, from time to time what we do is recorded. In the second case, it is also important to save the time between successive saved changes, so that the game knows how to recreate them in the process of undoing.

3. Finalizing the Fraud:
You can add some graphic effects during the act of undoing, such as: distortions, noise, and give the appropriate sound to suggest that time is moving backwards.




Paradoxes

Perhaps the most popular paradox of time travel is that of the movie Terminator (1984), which involves going back in time to kill someone's ancestor so that a person cannot be born.

In "Split" there is a mechanic of putting up your holographic copies. You can use them as the proverbial paperweight. However, in addition to that, they have the ability to repeat the movement after us.

We'll start with something simple, which is to leave the clone behind and go back in time so that it never existed.




Well, this is the next step, setting up clone A, taking a few steps, going back in time so that the clone never exists, but releasing a new clone B that will recreate our path. This will make our new B clone set that previous A clone.



Well, let's complicate it more :) and let's release more moving clones that make up other clones.



These and many other combinations should be anticipated and handled somehow by the game.

* At the end, a task for those willing with an asterisk. What's going on in this chart?





We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!


In today's devlog, we will focus on the mobility of our Split game.

All the methods presented below should not be used in VR games as they could make you feel sick.

However, during the game, in most modern and many old shooters, the bouncing effect is mandatory. It consists in the fact that while walking, the character slightly tilts up and down, simulating taking steps. If the character can run, he leans noticeably faster when sprinting. The sine function is often used because it does this well enough.



⭐1.One of the first effects that was used in first-person games was that characters were tilted sideways. This is clearly stated in games that are based on the so-called shelling - strafing. It consists in the fact that while holding the knob or clicking the sideways button, the character does not turn in this direction, but walks sideways. The effect that aids walking swings to the right as we go to the right, or to the left as we go to the left. Thanks to the appropriate rotation of the camera, we intensify the emotion of moving the characters, especially when we avoid the projectiles flying in our direction.



⭐2.The weapon is rarely permanently attached to the camera. It should move with the player so that he can feel its weight. Turning When Turning The weapon should turn with some delay.





⭐3.As with spins, the weapon should hold its weight while jumping. When we're in the air, pull us down, and when we land on the ground, it bounce.



⭐4.It is also important to move your weapons while walking. When a person tries to keep something in line in front of him, but it is almost always possible to accept the fluctuations, the stronger the faster we move.




We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello guys!


First, some important information. A new team is responsible for completing Split. We are Garlic Jam and our team consists of 6 people. We have extensive experience in the games development.

Devlog with number 4 is the first for us.


Currently we focused on work on the level design. You can see the effects on the screenshots below:




Thanks to the tools used, we are able to create atmospheric rooms that can be used to create entire levels.









We would also like to invite everyone to our Discord where we will be happy to answer all your questions about the current work - DISCORD

Hello Woodland Games Community!



You've probably noticed by now that there's a lot going on at Woodland Games these days. We hope you take it as a good sign, because for us all that news are GOOD 😉

Our projects are evolve: Hell Architect, Taxi Simulator, Autopsy and Ubran Explorer. Each of our games has seen quite a milestone, so it's time to talk about it.

On this occasion we invite you to our where you can make to us AMA session whenever you want 😉



Especially that:
- Kickstarter Hell Architect will be launched soon (stay tuned!)
- Devlog Autopsy Simulator will start in a days
- The city in Taxi Simulator is almost done (really!)
- Urban Explorer is just starting in cooperation with Pyramid Games – soon you will be able to make #urbex also at home 😉

A lot? There will be even more, so join Discord now!