A Hardy Developer's Journal

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Awards are nice. (more…)

Welcome back! Last time I bitched about old-school adventure game interfaces and tried to convince people to throw them out the window. Today I’m going to give an example of how I futzed around with the interface of my game, Resonance, adding a layer of potential complexity to the puzzles while keeping the interface simple, fast, and intuitive.

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There’s just something special about frolicking in a meadow for a while without a care in the world and that’s the best way I can describe Danny Dread is On Call. A cool breeze blows through your hair as you prance through the beautiful flowers, even if you don’t have any real reason to do so and you have minor allergies.

But enough of my odd and slightly creepy analogy that will become a little more clear momentarily, let’s get down to the meat of Danny Dread. (more…)

Interfaces are important.  I love interfaces.  Forming an intuitive and fluid language that is used by the player to communicate with the game, and a way for the game to communicate back is fun.  But adventure games, even the commercial titles, rarely get much interface love.  Games in the genre tend to stick to one of the commonly used control schemes.  (more…)

So, you’ve got a whole lot done on your game, graphics are looking how you want and you’ve got some puzzles you really like. But hang on a minute, how do you know when your game is done? There’s always going to be moments when you go “I could just add a bit more on here”, and sometimes this is very beneficial. But you have to stop working on the game somewhere, or it’ll never get done.

This could be something so much bigger: It’s a natural feeling to get near the end of your project and think “This could be so much bigger!”. Parts you could add, bits you could extend – in fact if you’re like most people you’ll probably have ‘realized’ that the story you wrote would work so much ‘better’ as the first part in a trilogy. (more…)