Rubeki Games

SOUND ON!

Remember Nurse Heideltraut from the Heilwald Klinikum? This is her now. She operates under her new title "Kreiseltraut".

I had this absolutely deranged idea while trying to fall asleep so I just had to pursue it.

Did some more work on the lighting and fixed the sliding on the walk/run transition! Here's a little turnaround of the main character! Their name is Maris

J(a)SON Post #2

Interfacing:

Games like Deus Ex, VtM:B, Prey 2017, etc. include interesting interfaces for things like computers, security terminals, etc. Rather than just simply showing the player the information they need to see and then moving on, they opt to allow the player to explore an interface with a degree of control closer to that of a real device or an operating system. The first time I saw the interface for controlling cameras in Deus Ex, all of the synapsis in my brain fired at once when I realized you can just manually rotate the cameras and enable /disable them individually. It doesn't take that much extra effort to include this degree of interactivity, and it baffles me as to why so few big budget games do so. At a certain point in development, I realized I needed a system like this, so I set it up so that I could easily create and assign an interface to any device that needs one. As you can see in the photos above, each interface has its own pre-render that depicts a closeup of whatever the player is interacting with. This allows me the freedom to basically do whatever I want with them, and it opens up the door to some pretty fun possibilities. On a surface level it allows a higher degree of player freedom as they can do things like manually set the timer on the c4, but it will also allow me to do some more ambitious stuff like create a micro-os for the computers that lets you check email, mess with a pseudo-code terminal, and play picross. This week I've been working on the ATM, which will allow you to enter any bank account information that you come across and drain whatever amount of money you want from the account. I'm looking forward to sharing more of the interfaces as I develop them, so I guess you'll see them then.

Conclusion:

"There is a wall of stones, then, at a certain place on the bourne. Across it the spirit goes at death, and across it a living man may go and return again, if he is a mage..."

Architecture & Set Design By creating a teaser as the first major step in the project, we were tasked early on with the need for a diverse range of locations that hinted at the scope of Sydney3 and the world in which the series would take place.

The future of 20XX is one dominated by pollution and sprawling cityscapes, a decision that bleeds through every facet of the location design. Even with the neon and splashes of colour, we made sure that every location had a certain level of grime and haziness to reflect the state of the world.

The architecture followed a brutalist base with hacked-together corrugated awnings and piping. Drawing inspiration from Ghost in the Shell (1995)—and, by extension, modern-day Hong Kong—we aimed for a densely-packed, functional labyrinth of residential and commercial dwellings all rolled into one.

PlayStation games of the mid-to-late 90s utilised low draw distance coupled with dense render fog, but we needed to have extensive, expansive sets for the camera to shoot in. In addition, the angles were oftentimes low, showing much more of the ceilings and skies than would otherwise be necessary in a PS1 game.

Textures and Lighting Although the original PlayStation only allowed up to 256² pixels for texture maps, our building faces were much more complex than cubic, flat walls. With diagonals, protrusions and chamfered geometry, we needed the flexibility of higher numbers without modernising the look.

We had no real upper limit on texture size, so a series of grey checkered images were created with varying sizes (32², 48², 64², 96², 128², etc.) up to 1024² to determine the scale needed for a particular building or design element. Once a texture’s pixel size looked good in-universe, the other textures’ sizes would be based on that to maintain consistency.

Some environments—mainly those with windows or glossy surfaces—called for more advanced texturing including reflections and luminance. For the most part, textures were colour/diffuse/albedo channels only, with lights in close proximity to simulate global illumination or light sources. However, reflections added a lot of depth to an otherwise confined space, allowing more room for the eye to explore.

Extreme reflections were also sometimes used for simple set extension, but it was never noticeable unless you were looking for it.

The Next Step What do you think of these older Dev Blogs being posted here, do you want to see more? If there's interest we'd love to keep doing more of them, but don't forget these are just abridged versions of our blogs which can be found on Patreon.

Important Links:

Asks archive

Perlin Festival archive

Patreon <-(GET PERLIN FESTIVAL EARLY ACCESS HERE)

Perlin Festival Twitter (sorry i know. i know.)

About Talon Zane: 17, he/him i make strange games for stranger people i work on these things:

Perlin Festival (everything. this is my solo project.)

ENA: Dream BBQ (Programmer, Ocassional 3D Assets)

uh

thats it for now lol :o)

About Perlin Festival: Perlin Festival is an early access passion project based on things like Yume Nikki and LSD: Dream Emulator with an emphasis on random events. This project why I got hired for ENA. Wink.

Ask Rules:

dont be weird

i am less likely to answer ena asks