Author Archives: Daniel

GDC!

David, Nicholas, Mr. Dykstra and I were down in San Francisco for the annual Game Developers Conference (as you may have noticed from our impressively slapped together post from last week), and we thought it might be cool to give you guys a little bit of an idea what that’s like, why we were there, and what happened.

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Tales from the UI Skunkworks: Military Management, Episode One of A Gazillion

User interface design is, honestly, one of the most difficult parts of creating a game.  Every button has a profound impact on how people will be motivated to play (or not play) a game.  I suspect this is why so many games seem to almost consciously decide not to experiment too radically with UI.  It’s so much easier to just build it the way people are used to rather than building it the way that perhaps it should be.  We’re no different; Dredmor’s UI has a lot of flaws that we didn’t see at the time of development. For instance, it turns out that Inventory Management isn’t actually a super fun mini-game. Even then, we completely overhauled the Dredmor gameplay UI some 4 or 5 times before we settled on a system which is still flawed, and to this day leads people to play the game in a way that detracts from the experience. Such is game development.

Not like this. Never like this.

We are doing our best to apply the lessons learned from Dredmor to Clockwork Empires. Not all of these lessons are applicable, of course, as CE isn’t a Roguelike — and there are a lot more moving parts to control. Granted, there are also a lot more strategy/management style games with real-time mouse-based UIs to draw from, and we have played a ton of them; however, by virtue of making a game that crosses the genre-streams a bit, none of these systems perfectly fit the needs of CE. For instance, dropping a Starcraft control scheme on the game would be inappropriate because Starcraft is (arguably) about competitive micro-managing, optimized build orders, and a bit of gambling on the current “meta”. In contrast, CE is ideally about creating stories within its simulation.

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New Breakthroughs In The Field of Reverse Phrenology

As every Modernity-minded subject of the Clockwork Empire familiar with the new Sciences of Personality has learned, each person in Society possesses certain individual Inclinations and Traits which determine their actions in Daily Life. Indeed, the New Science of quantifying and measuring these Inclinations and Traits is certain to lead to great advances in the Art of Education and Employment of Shiftless Wastrels.

– Prof. Eustace Boretrain-Charnickels for the Royal Phrenological Society

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Flora

Generating terrain for a video game is almost always done by hand, by artists, over a long period of time, sometimes even going to the lengths of placing each blade of grass that the player will see.  This visual design and implementation of large scale AAA video games is the vast majority of their development budgets, spanning tens of millions of dollars that we obviously don’t have.

So we don’t do it that way.  We can’t compete with it.  Instead, we (like many other indie game companies) cut corners by making the game world generate itself procedurally, writing algorithms for the placement of trees, grass, rocks, rivers, mountains, glowing ruins and evil monoliths.  Seriously, we have an algorithm for evil monoliths.

The Gray Man can be found among the giant horsetails on only the blackest nights when even the moon itself hides itself away from What Which Walks. No, this is something far more sinister than a quick asset scale test render in Maya.

David and I have been arguing since the last post on game terrain about the “binning” of our biomes into the 9 categories.  His argument being that it’s an unnecessarily simplistic system for such a potentially rich environment.  My argument was, of course, that at some point the simulation is growing so intricate that we’re spending time where we shouldn’t be, and that we’d be far better off improving the game-play than the terrain, but if we’re doing things right, the game-play will be pretty heavily influenced by the terrain, so a certain amount of this makes sense.

So I have capitulated, may the internet have mercy on me.  Here’s how the system works right now.  (If you don’t think that math functions are cool, this might be a little dry.  Sorry about that!)

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It’s an Odd World After All

It’s amazing how far you can go writing a video game without actually answering really important questions like “how does the game terrain actually work?”  In a perfect world, if everything worked as you imagined it would the first time, making video games (on our time scale at least) involves spending a few months building the idea of the game in your head, then spending a year or so whittling each piece out of little wooden blocks and pressing them gently into the computer. This has the added advantage of explaining why our computers are filled with little wooden blocks.

Let’s put a happy little fence right here in this happy little glade. Isn’t that nice?

We’re writing the biome code now (well, another iteration of it) which determines what natural objects exist in what areas, be they desert, tundra, jungle, forest, or maybe something weird like an Healthfully Irradiated crater or a la(r)va field, who knows.

There’s a bit of a process to defining how these things exist, what they get to talk to, and how complicated we want to make them: We hammer out a 3 page document on our internal wiki, argue over it (possibly in THE PIT), make Perfectly Necessary Amputations in some places, and more complexity in others, then start actually writing code.  Invariably we’ll forget something or make a Horrible Mistake that causes the world to be impaled with giant spikes of rock that are infinitely tall (it happens) and have to rewrite, but that’s the Creative Process.

Every game tile is currently given a temperature & humidity value, a wateriness descriptor (aquatic, wetland, or land), and an integer value for soil quality. We started with a simple 3×3 matrix of temperature and humidity numbers to map biomes on, but it turned we really wanted swamps because they’re 1. creepy and 2. you need somewhere quiet to throw that body or that artifact which Was Never Meant To Be Found. Similarly, we’d like rich, rolling prairies to cleanse of wild aurochs herds and fill with factories and pipes, and because there was no distinction in our system between the temperature/humidity values of forests and grassland areas, we realized there was a need for some measure of soil quality.  In broad terms for our system, fertile soil produces trees and barren soil produces grasses – or nothing at all.

This notion of soil quality may also give an interesting mechanical and ethical/narrative consideration to the act of (profitable, profitable) deforestation.

Don’t eat the apples in the Garden of Potemkin. (And yes, there’s another little fence. I like the fence. Deal with it.)

With this fertility numeric, we can do all sorts of neat things: We can make clear-cutting a forest cause the area over time to yield no trees at all; We can give incentive for crop rotations (if we want to be bothered with that), or we can give you a temporary bonus for, say, slashing/burning jungles by temporarily boosting the soil fertility drastically.  Sure, all the animals would die, the area would become a barren wasteland after just a few crops as the topsoil was washed away, and you’d be left with useless land and starving peasants, but that’s okay because you’ve put enough away cash from skimming off the opium plantations to retire your bureaucrat to that manor in the Home Counties, right?

It will of course need to be clear to players what the impact of these choices will be, and you should still be able to just render your terrain a hellish landscape of coal factories (which make coal out of other types of coal) and machinery, each attended by noble clusterings of pipe, but making the hard choices that balance quality of life – and the landscape – with short-term needs (Dagon isn’t going to drive himself back into the swirling blackness of the ocean depths) should make the world feel like more than just a grid to build stuff on.

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Dungeons of Dredmor for Linux updates!

Dungeons of Dredmor is coming to Steam!  …Again!

First for Windows and Mac, and now, the fabled Linux client.  While the Linux client for Steam is still in a closed beta test, those who have access to it should now be able to purchase Dredmor for Linux (as well as a slew of other great games).  Also, of course, if you are in the beta and already own Dredmor on Steam, you should just be able to download it and give those Diggles what-for.

As ever, the Dungeons of Dredmor binaries available through Steam are DRM free, but if you would prefer some other means of procuring our exotic Linuxian delicacies, we are in the process of rebuilding the DungeonsOfDredmor.com website to include the ability to purchase all of the expansions (as well as a complete pack) through the Humble Store, also DRM free, and for every platform.  Because we love you guys. <3

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States of Things: Abstract Resources & The Metagame

Our current iteration of the Clockwork Empires meta-game follows you, a bureaucrat of The Empire, on your (in)famous career.  In game terms, preceding every instance of the city-building game, you will be presented with the choice of a number of objectives to attempt to complete during the game. Completing these will generate prestige points, which is currently designed to be a voucher system that can be spent to “break the rules”, from something as simple as calling in a favour for some rare machine parts to, perhaps, an airship bombardment strike against an attacking enemy. It’s like using mana to cast a magic spell, but in a strategy game. And it’s politics rather than magic. And you’re a bureaucrat. The pen is your wand; the spreadsheet is your tome. (We can go on like this for some time, you know.)

But a downside of the system that we’ve been discussing is that this mechanic rewards only the people who actually do what the Empire wants and so penalizes people who want to do something totally weird (and possibly awesome/terrifying) that has nothing at all to do with what the Prime Minister wants you to be doing. To solve this we’re considering a system in which prestige is no longer won just from The Empire;  other factions will exist throughout the game and, say, by helping or hindering them you will open up the possibility to unlock new objectives for yourself.

Are the Stahlmarkians running dangerously low on festive lager?  Send ‘em a few barrels and maybe they’ll train some pilots for you. Are the Squamous Crater Beasts running dangerously low on human brains?  You probably have a few you weren’t using anyway, and you never know when you’ll need a favor from the Squamous Crater Beasts. Maybe they’ll be so good as to eat the brains of someone you don’t like the next time they come around; Her Majesty’s Detective-Inspector from the Ministry of Extradimensional Containment, say — why, you can’t have him wasting time questioning your overseers about the digs going on beyond the Screaming Hills when there’s Important Digging to be done.

It’s useful to make friends. And they come in all shapes. Some wear pointy helmets. Some are incomprehensible to a sane human mind.

Why not produce Perfectly Safe steam via clean-burning Madness?

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Choices, choices.

Once again, we are back to knife-fighting in the pit. This is the traditional game design approach at Gaslamp Games; we fight to defend our ideas, using oversized weapons and our bare hands. Recently, however, somebody has been seen fashioning a rudimentary lathe – a troubling development that will either upset the balance of power or be absolutely useless.

So what have we been fighting about? Well, all sorts of things. Today, let’s talk about the AI. The AI Cabal – Nicholas, Chris Whitman, and myself – have been hashing things out, and what we have is a data-driven, XML-based monstrosity that is sure to please everybody. The whole goal of Clockwork Empires’ AI is to provide characters in the game (currently referred to, in-engine, as Citizens, although this is not something that makes David happy; after all, we are a monarchy) with unique, rational, and relatable behaviours. The plan is to start simply, and add layers of complexity to the game until the goals and aspirations of characters appear to the player naturally and gracefully.

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