Category Archives: Clockwork Empires

Hooray for Scripting! (And Other Things We Did In The Past Two Weeks)

Way back in December, we had just implemented a bunch of the character logic for going through the world and doing things using our Finite State Machine model and utility functions. What we discovered was that writing the code for the FSMs themselves was, to put it frankly, a huge pain. Additionally, non-C++ programming members of the development team could not easily add new items and new behaviours to items (mines, buildings, trees, and the like.) Micah J Best, at the end of December, decided that we should use scripting to wrap some of the complexity and hide it from the end user, while simultaneously letting our development team create new objects and FSMs without requiring a programmer to go thrashing about in the codebase. I said, “Fine. Show me a proof of concept and then we’ll talk.”

Fundamentally, Gaslamp’s programming team operates based on spite. If somebody says “oh, well, we’ll never get that done in time”, or “oh, well, it’s too impractical”, somebody usually says “no, it well isn’t” and will jump to the bait. (I did this recently with a pipe system test.) Saying “Well, show me a proof of concept and we’ll talk” is equivalent to putting a red cape in front of a bull.

Over the holidays, Micah found himself stuck in Quebec. With nothing but inlaws, a language barrier, two laptops (one of which was destroyed by a cat), a turkey stuffed with poutine, and spite, he put together the first build of what is our new scripting system. It does, indeed, encapsulate all our programming decisions and is fairly powerful and flexible. We took apart all the character code we wrote in December, ported it to the new scripting system, and have now started using it to implement new things in game. It’s very powerful and, after some back-and-forth, I’m quite happy with how it’s turned out. We’re still fixing bugs and fine tuning how it all comes together, but let’s see how it all works…

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Dispatch from the Ministry of Art Direction

Alright, real talk: I don’t have much in the way of final art assembled in a presentable format for some pretty pictures, though I daresay, there’s been some fascinating work done lately that I can’t wait to show off on the blog, especially to do with the game’s terrain.

So instead of that I’m going to talk about what I actually do around here. On the good days, I get to draw dirt.  (Am I selling it yet?) Usually there’s not so much actual art-making for me and more doing meetings to coordinate with the other partners (that’s Daniel and Nicholas), popping over to the artists’ workstations to give feedback, filling out spreadsheets, or hiding liquor around the office.

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What’s New In Programmertown?

The best part of game development, for me at least, is when everything suddenly starts working. Quite often, there is a critical mass of code that you end up writing for a game, and then – in the span of a week, or even days – you go from “everything is hideously broken and we’re going to die” to “Oh, this might be fun.” We’re right on the cusp of that right now; programming has seen some setbacks this week, mainly due to an outbreak of flu that has consumed the office. Nonetheless, we’ve been hard at work here in Programmertown, trying to get all the excellent artwork and ridiculous designs that people have come up with integrated into the game as quickly and efficiently as possible. Once again, let us take a tour through my folder of wonderful work-in-progress screenshots.

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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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Concerning The Kingdoms Of Beasts And Fishes

The uncivilized reaches of the Frontier teem with Creature great and small from wind-swept steppe to miasmatic bog to roiling dark seas! What hold these wilds for the enterprising Adventurer, the industrious Bureaucrat of the Royal Charter Antipodean Seas Trading Company?

A happy Potemkin Forest render demonstrating what it’ll look like before the player shows up with a pack of naturalists and a Big Game Hunter to ruin the gentle State of Nature.

Why yes, we’re stumbling back into consciousness from the holidays and need to fill a post with pictures of stuff so we don’t need to think too hard about being terribly clever. Bear (heh) with me here.

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Dynamic Music

You will be glad to know that we all survived a) the Gaslamp Games Christmas Party, and b) the Snowpocalypse in Vancouver, with only minor cases of frostbite and damage to clothing. However, this has made today’s blogpost a bit on the late side and we apologize. People have wanted to hear about this for awhile, so as a special treat – let’s look at Clockwork Empires’ dynamic music system.

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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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All The Peoples (and an interview)

Regarding my note in the Putting People Together post from last month, Joseph’s been busy painting up a variety of skin tones for Clockwork Empires people.

Heads for all! You, and you, and not you, and you!

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