![]() The reason I decided on this, was that if the player had full control over their character in each scene, that would either require them to use a gamepad or resort to zig-zagging across some scenes, as keyboards aren’t great at directional subtlety.Īdditionally, I knew I wanted scenes to be shot from different angles, meaning that, if the player had full control of the character, I would have to draw the character’s walking and idle animations from at least 9 different perspectives. ![]() I was worried this might detract from player’s agency, but no one has ever complained. I decided that player movement should be along a single, defined path to avoid having too much collision detection to worry about. Mid-90s 3D games were a good touchstone, with a mix of games using them for cinematic effect, or to fake higher-fidelity graphics. I knew that recreating the look of this montage would be unnecessarily difficult if the game had any kind of player-controlled camera, so I started “researching” (see: Playing) games with pre-rendered backgrounds and static cameras as inspiration. In the case of Desert Child, one of the scenes was from Cowboy Bebop: The Movie. When I make a game, I always start with specific scenes or scenarios in mind that I want the game to be able to create for people. The following is my explanation of some techniques I used, which I offer as inspiration for people more talented than myself. I’ve been asked how I did all the faux-3D scaling and parallax effects in the game, and I wish I could tell people that I’m one of those some GML tech demo wizards, but it’s really just simple maths, badly implemented. Check out the trailer so we’re on the same page. Desert Child is a hoverbike racing RPG out on Steam, Nintendo Switch, Xbox One, and PS4 on December 11th.
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