#<- technically because these were painted on gamemaker

[murmuringbug]

merry crimas

[critrateup]

Run It Back: Kingdom Hearts 1.5 -- The Introduction and Destiny Islands

The title screen of Kingdom Hearts remains to be my favorite intros in all of games. Dearly Beloved is a theme which by now has been arranged, reprised, and remixed into about a dozen official versions. It’s a theme so iconic that rather than start fresh with an entirely new track for each new series entry, it’s been repurposed as an overture of sorts -- every reimagining of the track can tell you something about tone, beats, and themes present in the game ahead. In this instance, the theme has a somewhat melancholy bass line married to a flittering melody. The rhythm goes in an unhurried circle arriving back unto itself, accompanied by the sounds of waves gently crashing onto the shore. Sora stands in a beautiful watercolor illustration, alone and looking out at the sea. Like most of the other parts of the game that I remember fondly, the elements come together in a way that just feels right. Sora is alone, and though his expression is relaxed you get the feeling that he isn’t quite happy either. There’s a touch of mourning to the scene, which stands as a somewhat abrupt contrast to the expectations one would bring to a licensed Disney game in the early 2000’s -- something was different this time, and it was exciting!

The menu options are unfussy. You can start a new game or load a save (and in the case of the ReMIX versions, back out to the game select screen), and upon starting a new file you’re greeted with an intro cinematic. The cinematic starts with a beautifully rendered cloudscape that flashes the title in an unstylized, spartan, and serif’d font, and fades into a scene with Sora voiced by Haley Joel Osmant narrating his thoughts. It feels a little surreal, with him floating in space eyes half closed, wondering aloud to himself if he can trust his grasp of reality anymore. It sets the tone for the series, and places its production values front and center with a flashy cinematic delivering visuals well beyond what the hardware could deliver and professional Hollywood voice acting on par with what we’d expect from a Disney production yet surpassing performances we’d heard from up to that point. It also captures a certain angst that just resonated really well with 14 year old me. My stresses were piled high though I wouldn’t know to call them that at the time. I was just beginning to process some intense personal trauma that had occured very recently; national tragedy had struck the year before, with 9/11 and the G.W Bush Administration altering the course of American politics; and of course I was just entering high school, and all the baggage that brings along. Something about the way Sora saw himself falling from the sky, eyes closed and unable or unwilling to take control of his descent, resonated close and hard with me.

This is also the first time we hear the iconic Simple and Clean track, here as the -PlanitB Mix- with clubby vibe that marks the dramatic sweeps of the chorus have just a little more flair. The soundtrack to Kingdom Hearts was so good that it led to me hunting down a copy of the soundtrack at Tower Records. The craziest thing to me was that it had a domestic release (!) complete with the english (!!) versions of the Utada tracks and an unabridged, two-disc version of the soundtrack. Yoko Shimomura has since become a favorite composer of mine, to the point where I’d instantly recognized her work when I saw the first Final Fantasy XV trailer.

As a somewhat technical aside, The PS4 remaster runs at 60 frames per second, while the original ran at about 30. While the gameplay with look and act much smoother as a result, it is worth noting that the animation in the cutscenes has been keyed to 30fps resulting in a visual discontinuity when moving to and from cutscenes to live gameplay. It’s understandable, but it also shows the beginnings of what will be a recurring question with the remastered version of the game running on modern hardware: should the game be presented as the original was in 2002, and what should be modernized to make the game more akin to something of a remaster (or ReMIX in KH parlance) in 2013 then again in 2017. Although I recognize the sheer amount of work hours it would have taken to go back and essentially reanimate every cutscene in the game would border on absurd, it does give the impression that there was some work the developers and management at Square Enix were seemingly willing and unwilling to do in a re-presentation of the game -- this is not a no-holds-barred recreation of the original, nor is it quick and dirty supplanting of the original. Rather, it’s something that lands in the world between, and I’ll be noting such seems as they occur to me.

The opening with the stained glass figures is still striking as ever, and the constant moody, cryptic narration sets the mysterious vibe well. There’s a short sequence of actual gameplay that gives a brief tutorial of basic movement and attacking controls, then asks you with somewhat cryptic messages to essentially choose a build for your playthrough. I chose defense as my boosted stat in my original playthrough because of the way it’s worded. “The power of the guardian. Kindness to aid friends. A shield to repel all.” Of course these were values that I was All About™ but to be frank in later years when I discovered speedrunners and disgustingly destructive magic builds I became all about them, and would probably have never chosen Defense as a buffed stat in any of my playthroughs to begin with. It’s telling how effective the copy is when I still feel a pang of shame in sacrificing the shield as my default stat nerf.

The opening moments of gameplay on the Destiny Islands are totally unremarkable, and serve to highlight a coming weakness in the game -- namely, the clunky as hell platforming, with something of an identity crisis to come. It attempts to make stages interesting and fun by including varied elements of traversal and platforming, but the game’s unforgiving movement and jumping mechanics make it a difficult sell. With small ledges, an obtuse camera, finicky movement and facing requirements, a seeming lack of jump buffering and ledge forgiveness (more on that here https://www.patreon.com/posts/gamemaker-tips-14531948), getting precise movement out of Sora takes a whole lot of patience. Some of this will later be alleviated with Metroidvania-esque upgrades like a glide and a high jump, but running through the game’s platforming challenges with a vanilla Sora is tedious. Punishment for missing jumps can be harsh, reminiscent of Ratchet and Clank’s Planet Novalis Waterworks where a single misstep would send you to the back of the line to redo an entire sequence.

There’s something kind of cool and again telling in the way the tides are rendered on the beach. They’re GIF-y, cycling between a few frames of canned sea foam animation. Out of place as they may look running natively on a Playstation 4 in 2018, the way the gentle ebb and flow are rendered serve as a quaint reminder of the hardware that served the original entry -- it’s something of a momento mori for the videogame age.

The cave/secluded room on Destiny Islands has a bunch of really cool chalk drawings that I recommend you check out. Some of them seem to be of elements to come in the series, like the royal castle, starry adventures, and what even appears to be a Donald and Goofy. Weather intentional markers of the series’ now apparent time traveling and mysticism shenanigans or just fun little easter eggs for attentive players using the first person view function, it’s still a nice touch.

After some tedious gathering missions meant to familiarize you with the controls, Sora’s weighty movement, and some minor characters, the meat of the story begins to reveal itself. The introduction of the trio of Kairi, Sora, and Riku is mostly to the point -- Sora is excitable, smiley, and kind of a bag of rocks; Riku is intent on accompishing his goal of leaving the islands, seemingly in spite of the costs; and Kairi is kind if somewhat mischievous. There’s something of a love triangle painted between the three which serves to further drive their division in the coming cataclysm.

This is (to my knowledge) the only time the parents of Sora, Kairi, and Riku are even briefly acknowledged in the series. There’s a quick and disembodied line about dinner being ready at Sora’s house, and Kairi only briefly mentions family as the island is being torn apart from within. It’s kind of weird and maybe telling that Nomura and company weren’t sure how the game was going to do and what kind of future it may or may not have had coming. It’s a weird appendage to the series that seems impossible not to acknowledge.

And with that, the trio are sucked into the abyss, we get a glimpse of King Mickey’s castle, Riku in what we’ll later discover is Hollow Bastion, and Donald and Goofy are introduced. The story is told from and omniscient, cross-cutting point of view and I think it works for the most part. There are a lot of threads to keep track of, with characters we’re given lots of reasons to care about. In a game where the player character is one of a group of protagonists, each thematically and literally lost and in search of something, it creates a bigger payoff in dramatic tension to see them criss cross and near miss in pursuit of one another.

Next time, we’ll visit Traverse Town and discuss it’s soothing, soft-porn sax track at the crossroads of every world.

[gywair]

This week I saw a video on GB Studio from MortMort. It’s a program for making GameBoy games that work inside an emulator. I like to try out new tools just in general but this engine really inspired me. I spent all my nights this week making a short game about fish called ZUG. Play it here on itch.io.

What makes the engine so interesting is how it restricts you. The emulator can only render three colors (#017821, #86c06c, and #e0f8cf) and a fourth is used as a transparency layer (#65ff00). This meant creating a limited palette in Aseprite (and MS Paint) to create the sprites. Within that confine, each sprite could only be 16×16 pixels per frame. You could have up to 25 frames but always within the 16×16 square. This means making the most of each tile that you have.

Additionally, there were limits on how complicated the background could be. A neat thing the compiler does is translate the backgrounds into smaller chunks to conserve memory. However, this means that unless you are making good use of repeating tiles, you have to make everything as simple as you can.

Even the number of ‘Actors’ or objects placed in a scene had to be limited to nine per scene. In Zug, there are animated bubbles around the area. To get this effect, I had to make a single animation then repeat it in a line a number of times (three at most). Then I offset the animations between the frames (that 25 frame limit from earlier). This eventually made a neat bubble effect and kept me under the memory requirement.

Even the music was difficult because of the memory limitation. GB Studio can only process .MOD files for sound. These are four channel files that play the music while being emulated. This is amazing cause that means the sounds don’t have to be recorded (and take up more space) on the cartridge. It’s terrible because, like in Zug, it means there can be some distortion. I think there must be an issue with too many sounds in an active channel at the same time. This is one of the problems areas that I didn’t get smoothed out. The song is completely unrecognizable in game. It plays great in the engine but it builds and runs wrong.

A very neat feature of GB Studio is that the programming is contained in automated script blocks. For someone like me that wants to lead a class on making games, this is perfect. No matter the skill level, I could sit down with someone and walk them through an exercise and expect standard(-ish*) results. There is an expansive library of existing scripts. If/Else statements, scene changes, and animations are prepackaged. It also has a quest handler, a counting system, and a save/load feature. I got a little ways towards understanding this. At a certain point, I needed to move on though. I think they are still working on documenting and expanding these. I’ll circle back after some more updates.

*when a human is involved it can get iffy.

Beyond technical limitations, I had a lot of fun just making sprites. I’ve been messing with Unity 3D meshes, so it was nice to get back to basics. The sprite handling for GB Studio is really nice. There isn’t any guesswork in how the sheet will generate. This means that from an art standpoint, you can rapidly prototype animations without a lot of down time. In GameMaker, you have to edit the sprite, create an object, and place it in the scene before you can really know how it will work out. Then again, in GM you can also ad-hoc change the size of your sprite and aren’t limited to 16×16 so it’s a give and takes.

I came up with the fish theme cause I wanted a game that started with a ‘Z’. Zug was the first word that came to mind. While searching it online (to make sure it wasn’t anything nasty) it turned out that it was a real world. It’s an area in Switzerland and a word from fishing vocabulary (or at least says Google). I really liked the idea of an underwater theme. I know the creatures shown aren’t exactly Swiss in origin but they aren’t exactly zoologically accurate either.

Zug as a word has some connotations of pulling or being lead in a direction. It had to do with the right to pull in fishing nets. This gave me the idea for the core game thesis. It made me think about life, the influences we have, and the constant time is toward an end. It’s not perfect by any means but for a one week game, I think it’s not the worst concept for a thesis.

If I could do it again, I would use net imagery. Having patterns that slowly move in on you as you travel the game. I would probably make it where there are constant fishing nets around and you have to avoid them. Additionally, I would research a lot more about Lake Zug and make a proper effort of having area specific fish in the game.

Another pain point, when you compiles, the engine will tell you if something is wrong. However, what is wrong is not well documented. Usually, it either runs with game-breaking errors or it doesn’t at all. This means saving often and remembering what changes you made for easy backing up.

A super cool thing–you can build to a ROM file. That means, in theory, you could put this on a GameBoy cartridge and play it on the original hardware. I preferred the web format for ease of use/sharing but this is really fun.

In conclusion, I really like the possibilities that GB Studio offers. I got frustrated with it at one point and tried to recreate the game in GameMaker. It took way more time to get the coding to work as intended. I think with a few more updates, GBS will be a great engine. It is already an amazing adventure game making. For now, I’ll head back to Unity. That system has a lot more upfront learning but there were some things that it handles much easier (different file types and such).

Thanks for reading–here is the stuff I used to make Zug:

The Good Stuff by m0d Public Domain License https://modarchive.org/module.php?33325

MortMort

GB Studio: https://www.gbstudio.dev/

Documentation page: https://www.gbstudio.dev/docs/

My GB studio project: https://mortmort.itch.io/acgb

GB Studio Discord: https://discord.gg/CuFVqXk

Puns https://www.fishkeepingworld.com/fish-puns/

ZUG This week I saw a video on GB Studio from MortMort. It's a program for making GameBoy games that work inside an emulator.

[caroleyre]

A silver parachute drifts slowly to the ground. A small box is attached with a note from anonymous Inside is a small meal and a rubber band. The note reads: “Good luck, honey."

Weak and bored, Regan was almost ready to give up and return to the meeting space - the empty Cornucopia that meant nothing but a landmark all the girls knew how to return to. Technically, she was looking for Stella, but she did imagine that Stella was dead now, proof of how the lower districts were inferior, no matter how promising they looked at the beginning. Regan didn’t feel sorry for her anymore, now that death painted her inferior and officiated what they’ve always known and what everybody has said several times. She didn’t even feel sorry about her orphan son, but she was ready to show compassion once she saw her face on the sky, along other deceased tributes she cared even less about. She knew she had to care about Stella and cherish Stella even after her last, dying breath, even though the girl had the nerve to fail and ruin their team, like those cannons ruined the perfect arena. 

The first thing she tried was the District Six cabin, although the chances of her hiding there were ridiculously slim, because she had nothing to hide of. Unless this was all a strategy and Stella was going to kill all of them - or at least try. Stella didn’t know that Regan was immortal, clearly. It became clear in the District One tribute’s mind that this had to be a mind game, because Stella was more than competent and a wave couldn’t have just washed her away. Her colors were too strong for that, but alas, what she was doing meant an even grander mistake. Stella was going to wish she were dead, now that she betrayed the team. It made perfect sense. Regan became more cautious.

So cautious that she almost had a heart attack when she heard the strange noise of the parachute landing and the box for her booming against the floor. Though she had a purpose in mind and she now knew she was being hunted, Regan stopped everything to open the present, always a child on the Christmas morning when it came to those. The message and the sender were anonymous, which left room for plenty of questions, but the blonde wasn’t looking for more mysteries to solve after Stella’s disappearance. She grinned with all of the cattish slyness she still had in her and opened the box eagerly.

Maybe this anonymous would be better at picking out gifts for her than her own mentor was. She knew she was being unfair to Glitter, for she was one of the best at mentoring, but as she thought she deserved everything, the tribute found her mentor’s efforts to be under the standard. Fairly, she looked strangely at the rubber band, not that she minded one more gift, and placed it around her wrist, just in case. But it was the meal she couldn’t take her eyes off. It was warm and smelled delicious, and she entered one of the ruined open bedrooms - perhaps the one that was supposed to belong to Stella - to savor it. For now, life was good, although she still took offence in the fact that the wall of that room had less holes in it than her own. Ash was still ash at the end of the day, but this room seemed less destroyed. It made her wonder if the Gamemakers were being hard on the careers because they knew Regan and her girls could master their Games in an instant.