We Got Interviewed By TechRaptor!

This is so exciting – we can finally show off something that’s been in the works for a few weeks now. Since PlayNYC, Robert Adams at TechRaptor has been hard at work on an interview we did in the week leading up to the event.

In it, we discuss the origins of Game Revenant, my tragic corporate backstory, the game’s art direction, our progress over the past two years, mobile vs Steam, VR, release dates, price, and why Jack is our hero.

FULL LINK: https://techraptor.net/content/play-nyc-2017-a-conversation-with-frank-dicola-about-where-shadows-slumber

Check out the full article here! We’ll return to our usual blogging schedule next week, but this was too cool not to share.

 

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Are you a member of the media? If you’d like to interview the developers, reach out to us directly! You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

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State Of The Art – August 2017

Welcome to State Of The Art, August 2017 edition! This monthly progress report is written by Frank DiCola and is focused entirely on how the game’s visuals have improved in the past month. Without further ado, let’s explore the major leaps forward we took in August!

 

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Obe’s Feline “Friends”

This part of the update is directly tied to the cutscene discussed below, but I wanted to give it special attention just because I like how they turned out. I modeled some cats! They really only appear during a few short cutscenes during the game, but making each one took quite a long time. Here’s the Leopard:

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The spots on his coat came out way better than expected, although the top of the head is a bit off.

And the Lion:

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The way his mane frames his face gets me every time!

I especially like the Lion’s mane. It was a struggle to get it to look as simple as it does. I kept making overly detailed 3D hair but it just looked wrong. At one point I considered using Cloth to simulate a glorious flowing mane, but I knew Jack would probably kill me so I backed off. I ended up going with a simple cylinder with a rotated back and it just looked right as soon as I saw it. I stepped out of my comfort zone and ended up with something super cool! Throw on Jack’s shader and voila – a glorious, friendly* Lion.

Astute observers will notice a few things about these models. For simplicity, they’re actually using the humanoid torso + limbs combo that Obe uses! But the reuse doesn’t end there. The Leopard and the Lion both have the same Head model, just with a different texture. The Lion’s mane does even more to differentiate them. A+ if you noticed this without me telling you!

* Watch the cutscene.

 

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World 2 (River)

The River World took a giant leap forward during the month of August. I’d show you a bunch of screenshots, but I made a pledge last month to show more videos of the game in action instead of just screenshots. This is part of pushing ourselves to be better – if the game doesn’t look good in video format, we need to work harder! You’ll notice of course that there’s still no sound, but we’re working on that.

 

The core pillars of the River’s design are its gross yellow water, jet black dirt, log wall structures, and rickety boardwalks. There’s a really cool interplay here between the water and the black foliage – it makes it look like more things are in shadow than there really are. I love how the trees look, stretching out into the water / sky. This is one of my favorite Worlds!

Enjoy the highlight reel of all five Levels in World 2, above. Don’t worry – there’s no spoilers for puzzle solutions, just a walking tour of what each Level looks like.

 

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“Wardens” – The First Cutscene

You walk through the forest, alone and lost. You come to an intersection… which path to take? Suddenly, a Lion appears from behind the shadowy veil. To your left, a Wolf! As they bear down on you, you wonder if they are friend or foe. And what’s that sound behind you?

This cutscene is not quite 100% finished yet, but I’ve reached the point where it’s time to leave it and move on. I’m going to throw some facial animations in there, but I’d like those to coincide with sounds (roaring, laughing, screaming) so I’m avoiding it for now. Of course, as a final pass, we’ll need to add sound effects.

There are also minor touch-ups to his clothing that I need to do. I didn’t have to animate his robe or his chasuble, which was a godsend. But with automated animation comes other issues… notice how his clothing clips through his body and the ground sometimes. It’s possible to fix this – and it’s possible it won’t even be noticeable on an iPhone – but it’s one of those things you need to leave until the end of the project. Focusing all my energy on it now means neglecting the rest of the work on my plate, so it’s not an option.

 

Enjoy the cutscene (above) and look forward to a 100% version later, with sound!

 

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What To Expect From September

This coming month, my first task is going to be World 3 – the Aqueduct. We’re pretty much going chronologically here, so that’s next. I’d also love to move on to World 4 – the City. The City has been started, so one Level is already basically done. Getting those two Worlds finished would be awesome! Time will tell.

I’m satisfied with how I animated the Wardens cutscene, which means I might take a break from cutscenes for now. I really just wanted to get that first proof-of-life cutscene done so our audio crew can have something to work on as a reference for how cutscenes work.

Speaking of audio, that will also be my focus this month. I won’t be working on audio per se, but I’ll be paving the way for an audio person to come in and start adding stuff. That means some light scripting and a lot of brainstorming. It’s not visual, but it counts as “aesthetic”. Maybe I should rename this monthly post State of the Aesthetic? Is greater accuracy worth wasting one of the greatest puns of all time? Surely not…

 

See you again in October!

 

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We hope you enjoyed this update about the game’s artwork. Have a question about aesthetics that wasn’t mentioned here? You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

In The News – Beginning Publicity

If you’ve been a regular reader of this Tuesday blog post, you’ve probably noticed a shift in our marketing strategy in the past few weeks. This space used to be reserved for an inside look at what it’s like to be an indie developer working on this game – of late, we’ve been using it more for shorter updates about the game itself.

The game is speeding along like a runaway train, and although we have tons of work to do, it’s important to begin a crucial step in the development process: publicity! There’s no point in working hard to release a game that no one knows about. Expect to see Jack and yours truly on more podcasts, gaming websites, and YouTube shows going forward.

It’s not just that we love to hear ourselves talk. (Okay, a little bit) Publicity is an important part of creating a game. Don’t call us sellouts just yet! In the spirit of total honesty, here’s some articles that have been written about us in the past few weeks, mostly surrounding the hubbub about Play NYC.

 

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Nerdier Tides

Thanks to Cecile Pauling of Nerdier Tides for writing this quick recap of Where Shadows Slumber! Cecile played our demo (multiple times, [0_0 ]) and the development build we showed off at Play NYC. I especially enjoyed this bit:

“Walking home at night, you’re always worried about the shadows that lurk near you. You never know what it is, but what if it’s the path you’ve been looking for all along?”

Full article here: https://nerdiertides.com/2017/08/25/whereshadowsslumber/

 

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TechRaptor

Robert Adams of TechRaptor attended the show and we reached out to him beforehand. We actually did a long-form interview with him that’s coming out pretty soon. To tide you over, check out his full recap of Play NYC, below!

Full article here: https://techraptor.net/content/play-nyc-2017-recap

 

Contact Us For An Interview!

Okay, now for the REAL reason for this blog post. Do you have a podcast? A gaming website? A YouTube channel about gaming? Perhaps you have a blog where you talk about games, iOS apps or Android stuff? We’d love to be on your website. We really do need all the help we can get to advertise the game. In return, we’ll give you juicy details about what it’s like to develop an indie game. We may even reveal the secret of Grongus? If you ask nicely…

The best way to contact me is contact@GameRevenant.com, and we can set up a Skype interview, phone call, or long distance shouting interview. (Sound carries across water, so this works better than expected.)

 

Expect more short form updates like this in the future. As we ramp up development and publicity, we’re trying to focus more on working on the game itself rather than long blog posts. If we missed something important that you wanted us to address, just find us online and ask! Details below.

See you next week!

 

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Looking to write an article about Where Shadows Slumber? You can contact us directly at WhereShadowsSlumber.com, talk to us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

 

The Name Of The Game

As you (probably) know, Frank and I have been working for a while on a certain game-development project. And, as you also (most likely) know, the name of that project is Where Shadows Slumber. For as long as any of you have known about it, that’s what we’ve called it, so it might seem strange to think of calling it something else at this point. But the name wasn’t always Where Shadows Slumber – for quite a long time, our game didn’t even have a name. How did we get from there to here?

When I first came up with the idea for the game and we started on the proof-of-concept, we didn’t have any particular name in mind. We weren’t thinking about it at all, and we didn’t even have an idea of what kind of name we might want. That apathy followed us through the early phases of the game, up to the point where we started going to smaller events, showing it off to people, and getting feedback. We discussed different naming options, but we never considered it a huge priority, and didn’t dedicate much time to it. Before too much longer, we came to the realization – we need a name for this thing!

 

Why Do You Need a Name?

We were just getting started with a new, unknown game, and, against all odds, it was actually going well! People seemed to really enjoy playing our game. They seemed interested in our process as a small team. We had been perfecting our ‘pitch’ at every event we went to, and we know exactly what to say to people when we showed them our early prototypes. That’s when we realized the mistake we had made.

People liked the game, and they wanted to know more about it. They wanted to hear about updates, they wanted to know when it came out. The problem was, the game didn’t have a name – how can someone keep up with it if there’s no name to search by? That was when we stopped messing around. Making a game is hard, and making a successful game involves making the correct decision at every point in the process. This was a place where we had screwed up, but we resolved to fix that mistake immediately, and I think that our fast action was an excellent decision that did a lot to move us toward success. The decision we made was to meet up in person the following week. We would sit down and figure out a name, and neither of us would be allowed to leave until we had decided on one.

 

What’s In A Name?

Now, choosing a name is a surprisingly difficult thing to do. The biggest hurdle for us, I think, was the dedication that it implied – once you pick a name, once people start using it, you can’t really go back. What if we chose wrong?

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MS Paint forever!

While this was a scary proposition, it was also one of the things you want most out of your name. You want people to remember it and recognize it – you want it to last, and you don’t want to go back. Which just means you have to be that much more careful about choosing it. So lets look at all the things you want from your chosen name.

Recognition – The most important part of your name is that people associate it with your game. For us, when people think of the words Where Shadows Slumber, we want them to think of our game, and only our game. This is associated with having ownership over the name – nothing else is named in a way that’s too similar to Where Shadows Slumber. Take my name for example – Jackson Kelly. Go ahead, give it an image search, I’ll wait.
Do you get a bunch of pictures of my beautiful face smiling back at you, or a bunch of guitars? That’s right, the name Jackson Kelly is already ‘owned’, to some extent, by a guitar company. If I were choosing a name for a company or product, I definitely wouldn’t choose Jackson Kelly, because people (and Google) already associate it with something else.

“Pre-loading” Information – When people sit down and play your game, they won’t always know what to expect. There are some people who aren’t part of your target audience, and they might not like your game. Some games require the right mood or mindset. These are all good examples of how your game’s name can “set the mood”. If your game sounds like a puzzle game, then puzzle gamers will know that it will be good for them. If your game sounds like an endless runner, people will know what to expect. This leads, perhaps even subconsciously, to people more often playing your game when they’re interested in the style of the game, and when they’re in the mood for it. This also applies to people following your progress and keeping up with your development.

Telling a Story – Every game has a narrative of some sort – not necessarily a story in the conventional sense, but something you want your players to experience, outside of the mechanics themselves, when they play your game. For a game like Where Shadows Slumber, this is a literal story – something is happening in the world of the game, and the player gets to watch it happen. Other narratives aren’t so straightforward; take Candy Crush, for example. I’ve never played it, but I assume there isn’t really a huge storyline. Rather, what you want the user to experience are the rules of the candy world, and why the player should be connecting the candies.

Whatever the narrative, everything about your game should speak to it, should play a part in making it happen. The name, as the first part of your game users will interact with, is a vital piece. It’s where the journey begins, and you want to make sure that it helps tell your story.

Representing Your Game – Every part of your game should be great, but the most important part of your game is the beginning – can you get a user “hooked”? The name of your game is the first part of your game a potential user will experience, so it should, arguably, be the best part of your game. If you clearly didn’t put a lot of thought into the name, how can people trust that you put any effort into the game itself? [Editor’s note: see “Mr. Game!” for reference] The name is part of the game, and it should be treated as such.

 

How We Came Up With the Name

As I mentioned earlier, the way we came up with the name was to have a few rough ideas in our heads, and then to sit down and get it all done in one session, cagematch-style. Perhaps this wasn’t the most efficient way to get this done, but it stopped us from dragging our feet, which had been the biggest problem. So, we met up at 10 am on a Saturday, and got into it!

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A spattering of words and concepts we considered using.

The first thing we did was to brainstorm – not for names, but for emotions. People buy most of their entertainment products based on emotion, and games are no different. What emotions do we think players will feel while playing, and what do we want them to feel? What kinds of emotions will motivate them to buy it and to keep playing it? By answering these questions, we started to figure out the tone our name should have. The emotions we decided to shoot for, to various degrees, were mystery, fear, suspense, and hope.

Once we had some emotions, we started to focus on the actual content of the name. Our name should be indicative of the things in the game, and, in particular, of the story players will find within. What are our main mechanics and story points? What words can we find for those things that fit within the emotions we chose? Again, we’re not thinking about actual names yet (for the most part), but just building up a collection of words. We ended up with quite a few, but some of the major ones were umbra, nimbus, slumber, wraith, and plenty of others.

After that, we finally got started on actually choosing a name. We tried to combine the words we had come up with into sensible, interesting names. We came up with quite a few, decided on our top four favorites, and made a little bracket. We discussed each of the names at length – what will people think, will it help us connect with players, are there other games with similar names – and eventually narrowed the search down to Where Shadows Slumber!

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The final four!

This whole process took upwards of eight hours. It was an exhausting day, but I think we ended up with a pretty good name at the end of it all.

 

Aftermath

When we first decided on the name Where Shadows Slumber, I was pretty apprehensive, and I think Frank was too. We didn’t want to commit to a name that might not have been 100% perfect. That said, we knew we had to make a decision, so we did.

In the end, I’m really glad we settled on Where Shadows Slumber. I think the name does a lot to describe what our game will be like, we have good ownership over the name, and it really just seems to fit. It was a heck of a process, but I think we made the right choice at the end of the day!

 

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If you want to know more about our naming process, feel free to contact us! You can always find out more about our game at WhereShadowsSlumber.com, find us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly with any questions or feedback at contact@GameRevenant.com.

Jack Kelly is the head developer and designer for Where Shadows Slumber.

State Of The Art – July 2017

Welcome to State Of The Art, July 2017 edition! This monthly progress report is written by Frank DiCola and is focused entirely on how the game’s visuals have improved in the past month. Without further ado, let’s explore the major leaps forward we took in July!

 

MountDoom

Pictured above is our classic scene where Obe throws the ring into Mt. Doom

World 1 (The Jail) Is Ready

It looks like the entire first real World, our volcanic prison that you must escape from, is ready! I say “ready” and not “finished” because nothing in the art world is ever truly finished. But these five Levels are “ready” because I’m ready to move on to something else without worrying about these all the time. They look good. They look pretty done. Will I need to tune them up later? Absolutely. But I’m not going to spend more time getting these Levels from 90% to 100% when there are some Levels at 0%.

Having said that, bask in the molten glory that is World 1!

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Level 1-1, “Light” is the first Level of the Jail World.

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Level 1-2, “Detour” shows off some of the cell blocks in this prison.

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Level 1-3, “Lock” contains a rarely used side-exit door.

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Level 1-4, “Pressure” needs a different back wall than the one currently shown.

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Level 1-5, “Ascent” has a lot of annoying overlapping lights and we’ll fix those later.

What do you think of these Levels? Please leave a comment with your feedback, as I have a few concerns of my own and I want to see if casual observers would notice them. Maybe I’m just paranoid!

 

Obe

Obe’s Clothing Is Ready

Our main character has quite the wardrobe. He’s wearing a lot of complicated clothing! Some of it is made from animated mesh, but other parts are physically based cloth that Unity simulates in real-time.

Getting this right has taken me a long time. But now I’m done messing with it and I’m ready to give it the ultimate stress test – cutscenes, weather (wind and rain!), and lots of animation. I believe his accessories can withstand the stress and remain looking cool.

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Dude what happened to your pants?!

Undoubtedly, his clothing is going to get messed up sometimes. We’ll just need to identify those situations and preempt them with special scripts that manage his robes and keep them from going haywire.

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Currently, the robe can clip through his white alb and skirt. This should be fixed by launch.

What do you think of his clothing? Is it worth it to have such a detailed robe on such a small character? I promise, for these close up cutscenes, it will look great!

 

River

What To Expect In August

This month, I’m going to aggressively go after the Levels in the River World. I’ve been so excited to work on that one for a long time! It’s wide open (as opposed to the claustrophobic Forest and Jail) which is a nice change of pace. The color scheme is totally unique, and the assets are really interesting. There’s some creepy story stuff happening there as well.

I also want to get cutscenes rolling, probably the first two (Intro to Forest, Finale to Forest) since they are the first things players will see. I don’t like the idea of waiting until the very end of the development cycle to start cranking out cutscenes. These things are going to be trailer-fodder and they need to look awesome. A rushed cutscene is probably going to end up being a cut cutscene 😛

See you again on September 1st!

 

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We hope you enjoyed this update about the game’s artwork. Have a question about aesthetics that wasn’t mentioned here? You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

Designing Obe, The Mysterious Protagonist of Where Shadows Slumber

For years, Jack and I have been referring to the main character of Where Shadows Slumber by euphemisms such as “the main character”, “the protagonist”, and “little lantern dude”. Now that the game’s story is coming together, we have finally given him a name! In this blog post, we’re going to do a deep dive into how we gradually got to this point in the character design process.

 

Obe

Meet Obe (oh-bee)

In Where Shadows Slumber, you guide Obe on his journey using magical shadows that emanate from a mysterious lantern. But the lantern is not the only thing that’s full of mystery. Who is Obe? Why has he come to this strange land? And is that a yarmulke?

We can’t give too much of the story away at this time. You’ll have to play the game when it comes out next year to find out the full story. Suffice it to say, Obe is an elderly man at the end of his life on a quest to set things right. (We would have called the game Old Man’s Journey, but someone beat us to the punch.) Obe didn’t ask for his lantern, but he would be lost without it.

The artwork above is the final rendering of how the character will appear in-game. Once I rig his cloth chasuble to work properly, I’ll post some videos of him in action. Before I do that, let’s take a journey through time to see how we got to this point.

 

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You Inspire Me!

From the beginning, Jack and I knew that we would need a character that the Player could guide through the world. Something about our game’s shadow mechanics made us feel that it had to take place in a dark, mysterious landscape. We couldn’t go “full abstract” and make the main character a capsule or something. (Though, that would have made my job as an artist much easier!) We needed to show the shadows interacting with real objects in a real place, which meant the protagonist needed to be an actual humanoid. Moreover, the protagonist either needed to emit light or carry some kind of light source with them. We decided a lantern would look cool, and started exploring characters in popular culture that would inspire our character’s design.

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Jack suggested Thresh from the online game League of Legends. A sinister character, Thresh uses a lantern and a hooked chain to grab his enemies and pull them to their doom. He traps people’s souls in his lantern and tortures them for all eternity.

This was a bit too evil for an indie puzzle game. Thresh looks like a take on the grim reaper, and his lantern isn’t even in the forefront of his design. But still, it was an inspiration! If you ever get creeped out by Obe, that’s because of the Thresh-y part of his design.

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Then I suggested to Jack the design of Tonberry, a strange little green character from the Final Fantasy series. This enemy is apparently quite rare and super dangerous, despite its innocent appearance. Though it has many abilities across multiple Final Fantasy games, the recurring theme is that he slowly advances toward a party member until he is close enough. Then, he stabs them with his knife, delivering an instant kill.

I’m not sure why every character with a lantern in video games is a psycho murderer. That’s a little weird, don’t you think? Surely Where Shadows Slumber will change that perception!

What we enjoyed about Tonberry’s design was the simple, monk-like burlap robes and a nondescript lantern. His disarming appearance was also a huge inspiration for Obe. Now, Obe doesn’t carry a weapon around and he also isn’t a lizard, but his design was heavily influenced by this character.

 

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The Drawing Board

With a few key characters in mind, I set about drawing lots of pictures of what the game’s protagonist could look like. I began by deconstructing Thresh and Tonberry and distilling them into “mobile” versions. Remember, our game takes place on a small screen, so the character’s key elements must be clearly visible from far away.

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What would chibi-Thresh look like? What elements can be stripped away and still retain the design? What elements are not necessary for a peaceful puzzle game?

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Simple designs for the character. Bottom Left: an unused design for a horrifying shadow creature that only appears in darkness and eats the souls of its victims.

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The character’s robe became a central part of the design here, acting like Thresh’s gathering shadows and unearthly aura.

As you can see from the drawings, I tried to straddle the line between “cute and disarming” and “somehow a little sinister”. It was important to us that the Player trust the character in the beginning of the game, and then question their motives a little later on. Also pictured above, you can see the beginnings of some other character designs that would use our humanoid model. From an early stage we knew that if there were other humanoids in this universe, they would look like the main character – just slightly altered.

 

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First Character: Rayman-like

While this was happening, Jack and I were working on the very first iteration of Where Shadows Slumber. It was still just called “Light / Shadow Game” and we needed a character. Based on my drawings – but too scared to actually try using Unity Cloth – I created a simple character in 3DS Max.

Check out the character in action in the video above. He has a little cone shaped lantern, nubby little arms and legs, a fake robe and hood, one rhombus-shaped eye (!), and fingers. While this design is still near and dear to me, it had a lot of flaws.

One Eye Messes With Depth Perception: So apparently when a character only has one eye, it’s super difficult to tell where they are looking or when their head is turning. As humans, we’re much more used to the human face. We subconsciously compare both eyes to each other and make a judgment call about the way the head is turned based on that. A single eye made it difficult to animate the character properly.

Rayman Limbs Mess With Shadows: I love Rayman limbs. By this, I mean “floating hands and feet that aren’t attached to the torso in a visible way”. I think it’s an underused design. However, as much as I love it, it doesn’t work in a game where characters need to cast shadows and have silhouettes that make sense. We had to cut it.

 

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If At First You Don’t Succeed…

For the next draft of our character model, I took the chibi style to heart and tried to think of a purpose for the character’s robes. It’s not enough to say “he’s wearing robes because he’s traveling and it’s a cloak”. I wanted to give them some kind of a purpose or possible religious significance. Now the character looks more like a cardinal or some kind of priest. This fits with his nondescript age of “old” and allows the Player to begin projecting their beliefs onto the character.

CharacterDesign

This model ended up being really close to the final design, but it just wasn’t there yet. Troubles with rigging the arms, face, and clothing meant that I needed to take one more shot at it. Still, we’re getting there! This character model appears in our Demo. Check out how the character looks in the Demo’s finale cutscene:

What were we saying about all lantern characters being really violent? Oh well… I guess some stereotypes really are true!

 

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Welcome Home, Obe

Designing a character for this long almost feels like searching for a missing person. There are a lot of promising leads, but none of them pan out until finally you happen to stumble across what you’re looking for.

I feel that our main character has finally come home. He has a personality and feels like someone I can’t control anymore. It’s a strange feeling, but I take it as a sign that he will bring joy and intrigue to players around the world that want to unravel his mysterious story.

 

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We hope you enjoyed this update about the game’s character artwork. Have a question about Obe that wasn’t mentioned here? You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.

State Of The Art – June 2017

Welcome to State Of The Art, June 2017 edition! This monthly progress report is written by Frank DiCola and is focused entirely on how the game’s visuals have improved in the past month. Without further ado, let’s explore the major leaps forward we took in June!

 

The Forest Is Starting To Look Finished

Where Shadows Slumber begins with a few short tutorial levels that teach the Player how to play and start the story off with a mysterious event. This takes place in the Forest, or “World 0”, as we’ve been calling it. I’ve recently begun calling it the game’s prelude, which sounds more profound and less technical.

Take a look at this video of the second Level of the game, “Bridge”, in action:

As you can see, the Level is entirely functional and artwork has been attached to every facet of the Level. The things that are missing are either out of my hands (audio, footfall particles when the protagonist walks) or things Jack and I want to leave for the end of the development process (polish on the Draggable “grab” effect).

The toolkit of 3D models I use to build Forest Levels is really coming together. Level 2 served as a good model for how I’m going to decorate Levels 1 and 3. Those have not been started yet, but you can expect them next month!

 

World Select and Level Select Menus

Where Shadows Slumber is a journey that takes you across a desolate world with a variety of biomes. You begin in a Forest, but you’re soon kidnapped and put into a volcanic Jail. You escape, but only by traveling down a haunted, marshy River… and that’s just the game’s first act!

We found it necessary to group these biomes into Worlds. Furthermore, each puzzle in the game is its own Level. So we needed a screen that allowed Players to view each World and then select the Level they want to play. I wanted to make each World screen inviting, yet spooky. I also wanted to use as much of the existing art in the game as possible.

Below is a video of the World Select Menu in action, including transitions:

Notice how the transitions from World-to-World mirror the shadow mechanic of our game. Including that was extremely important to us!

Please know that this menu is not finished yet. The decorations for this menu are entirely downstream of the actual art in the Levels. That’s why I’ve only finished a few of them so far. Believe it or not, while these screens may seem flat, they’re actually produced with 3D models and camera trickery!

Blog-BTS

It’s a cool effect… but that means I need to finish all of the Levels in a World before I can go on to the menu. Dependencies in game development are annoying, but it’s more annoying to ignore them and then come back to find a lot of your work was erased or made worthless because too many underlying elements changed.

 

We Built This City

The toolkit for the City (World 4) is one of my favorites in the game. The inspiration for this slum town environment was a combination of the poorest regions of India mixed with the pueblo towns of South America. The result is a city that looks hewn out of a mountainside and packed to the gills – once I add the people, that is! During your travels, you’ll go from the poorest area of the City all the way to the King’s palace. Who knows what you’ll find there?

Here’s a screenshot of Level 4-1, where we introduce the concept of Doors that teleport the main character. Check it out:

 

Over time, this toolkit will grow to include fancier parts of town, including a really cool Level we have planned where you ascend one of the city’s towers. Stay tuned!

 

Wolf Attack

Last time we saw the Wolf he had just been modeled. This month, I gave his face a fresh coat of paint and worked on his animations. Now he can express a wide range of emotions, from “angry” to “really mad” and even “about to kill someone”! Check it out:

Blog-Wolf.PNG

 

Works In Progress

Worlds 3 (Aqueduct) and 5 (Hills) have progressed slowly over the past month. Whenever we’re not sure of how a World’s puzzles will look, it’s harder to focus on the art for that World. I like to pick out a really solid puzzle and work to get it to a professional place, but the level design for these two Worlds is still very much a work in progress.

Blog-Aqueduct.PNG

Having said that, I have at least started both of these Worlds using dummy scenes. This design is subject to change, however. I’m still deciding on the key colors for the Aqueduct. Blue feels a bit too obvious. The Aqueduct should be dark and cavernous, but I also want it to be a departure from the two Worlds (Jail and River) the Player just experienced, which are kind of depressing and muddy.

Blog-Hills

As for the Hills, it’s very difficult to create a scene from nature using entirely modular pieces. Sometimes you just need to make something that specifically works for a certain puzzle – especially background mountains. The Hills have a lot of moss-covered rocks and grassy cliff faces. I’m having trouble making puzzle-piece 3D models that can be assembled to look like they fit together to form the rolling hills of Ireland. Expect progress on this World to be quite slow.

 

Thanks For Reading!

That’s all for now. In the future I’d like to make this update strictly contain videos of the game in action. Screenshots are great, but this is a game, and I want to push myself to film more sections of it and analyze it from every angle (animation, color, sound, feedback). Look out for that in July’s update!

 

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We hope you enjoyed this update about the game’s artwork. Have a question about aesthetics that wasn’t mentioned here? You can find out more about our game at WhereShadowsSlumber.com, ask us on Twitter (@GameRevenant), Facebookitch.io, or Twitch, and feel free to email us directly at contact@GameRevenant.com.

Frank DiCola is the founder of Game Revenant and the artist for Where Shadows Slumber.