TOM FRANCIS
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Ludum Dare Day 1, 8AM: World And Movement

I present to you, SnowBot! So called because the only things I have made for it so far are some snow and a robot.

It is the ugliest game ever made, but it works – the robot chases your cursor while you hold the mouse button, and decelerates when you release it.

Obviously with 48 hours to make something, you start to look at what really takes time, and the answer is invariably ‘tweaking’. So I made a pact with myself: no tweaking till the game is virtually done: of graphics, movement, controls, anything. I’m allowed to change things once or twice to get them functional, then they’re set in stone until the rest of the thing is in place.

I have two days, so my plan is to make the game in one. That way I can spend the second day making it good, or making up for how badly I failed to meet this ridiculous deadline on the first. My game is going to be crude and ugly no matter what, so I’m happy to make it even cruder and uglier to give myself some time to balance it and make it more fun.

In my head, this meant getting a character moving around the world in the morning, then making content in the afternoon. Turns out the first part only really took an hour, two with all the faffing with all the blogging and setting up screen captures for the time-lapse video I’m hoping to make of this process.

So next up is putting an enemy in the world, and letting the two shoot each other. Video games.

Ludum Dare Day 1, 6AM: Theme And Ideas

It’s 6am, it’s freezing cold, it’s pitch dark, England is caked in snow and the theme of Ludum Dare 19 is Discovery.

Discovery is what I was hoping for. I think one of the close runners up, Containment, would probably have led to a more interesting selection of games, but I had a clearer idea of what I’d do for Discovery. I knew if this one ended up being picked, I would have to make something involving randomised content. That’s what makes Spelunky so exciting to play, and that’s probably the greatest game about discovery I’ve ever played.

Unfortunately I’m not Derek Yu, and I only have 42 hours, and I’m wasting time writing a blog. So my game will be a little less ambitious.

To fit the theme, I feel like the pleasure of the game has to have something to do with the discovering. And the only thing gamers truly and instinctively care about is stuff that benefits them in the game. So not only does it have to be the content rather than just the scenery that is randomised, the unique elements of that content have to feed back into character progression in some way.

My plan currently is for something top down, where you direct your character – probably a robot – around a large landscape with the mouse, encountering enemies with randomised stats. Destroying them will let you salvage some of their traits, so a very tough enemy would boost your hitpoints when you destroy it.

Someone on the Ludum Dare site joked that everyone should not only have to stick to the chosen theme, but also combine it with Christmas. So if I can draw it in any meaningful way, I’ll set my game in the snow.

Ludum Dare Day 1, 1PM: A Working Game

Two surprising things have happened: firstly, I’ve made a game that works already. There’s no point in playing it yet, since it does nothing interesting, but that was all I hoped to achieve today. This’ll give me time to make it interesting today, and make it good tomorrow.

Secondly, now that I’ve made enough of it to see what it’s going to be like, I realise it has almost nothing to do with the theme. The angry deathbots you meet aren’t randomised yet, but even once they are I think running into them is just going to feel like encountering enemies in an arena. It technically is discovery, but because they’re simply off-screen rather than visibly obfuscated, it’s not going to feel like it.

I’m not going to worry about that too much yet – my priority order is to make it interesting, then make it good, then make it fit the theme. Here’s what it looks like now:

The blue circles are shields: I didn’t fancy putting a bunch of work in just to recreate the conventional hitpoint bar or health meter on your interface, so I went for something more visual and in-fiction. Right now each shield takes one hit, but as you can see that makes you impractically large for not much health, so I’ll probably tighten their size and thickness before I’m done, and perhaps make them come back online a while after they’re taken out.

The enemy will have these as well, and they’re one of the things that’ll be randomised, so it’ll be very obvious when you’re facing something tough. Not sure if I’ll also have big hulls – that’d mean introducing an armour system as well, which may defeat the point of the shields.

I do plan to have large engines/tracks for fast bots, and a large turret or power core of some kind for things with a lot of firepower. Basically, if I can have at least three functionally important metrics that enemies can vary in, and make each one visually readable at a glance without any interface, I’ll be close to what I want.

Challenges right now:

• You’re in a fairly large open field of snow, and I’m not sure where to take the environments from there. I’d love it to be infinite but that’s technically tricky. I’d also love some randomly placed obstacles, but I’m wary of creating much art work for myself – I want time to redo the actual robots.
• My control method didn’t work: holding the mouse button to make your bot chase it was fun, but it meant you’d never be able to fire in one direction while moving in another. I’ve changed it to Cannon Fodder controls – click to move, right click to shoot somewhere else while you’re on your way. It doesn’t feel quite right with current movement speed and screen size – you’re at your destination before you’ve got more than a couple of shots off. May rethink.
• Random enemy movement was trickier than I thought. I’ve done it, but they’re rather geriatric: quivering with indecision when deciding where to move. I’ve realised the way to make it look better is have them pick an arbitrary direction, turn, then move. But that’s also the way every other game does it, so I’m still wondering if there’s a more interesting way.

Title ideas: Sighs of the Snowbots? Snowbot Snores?

Ludum Dare Day 1, 11PM: Almost Fun

The screenshot I’m about to show you won’t look spectacularly different to the one earlier – I still haven’t fixed the horrible protagonist bot or the laughable kid’s snow effect. But to play, it’s already close to what the finished game will be.

The main thing is randomised enemies, with visually apparent stats. Randomisation will be part of the Discovery element, and also just the fun of the game: it’s never going to be a great shooter, but it’s already kind of cool to blunder into a triple-barreled deathbot with hyper speed and discover a whole new echelon of boned.

The visual apparency – representing every stat in the shape of the enemy rather than a stats readout – is part of that too. It gives your read on the enemies immediacy, and that’s a catalyst for fun. I need all of those I can get. Hopefully you can tell which one of these enemies has more firepower, and which one is better protected.

What you can’t see, and what you probably won’t even find if you play it, is the ridiculous amount of fun I’m having with it.

Most of this afternoon was spent thrashing out the enemy movement to be more convincing and dangerous, and all of this evening was spent drawing just a few bad sprites – it takes me actual time to get pixel art to the dismal level of quality you see here.

Then in less than half an hour, I did the coding legwork to implement every chunk of art into modularly assembled, dynamically scaled, randomised deathbots. And the game’s gone from being a tame arena where I can always win through knowing the tricks, to a terrifying robot safari where things with crazy muzzle velocities can also outrun me, and I see combinations I hadn’t pictured.

It’s not exactly good, yet, but it’s an amazing thrill to see that kind of stuff come to life from a few simple maths statements. I can pretty much stomach art work if it’s for a game that can stretch and recombine it to endless different purposes.

I’ve also had an idea for how to relate the game more obviously to the Discovery theme. It’s fun to try and creep up on these bots when they’re not looking. They turn round if you shoot them, to prevent the game being too easy, but I’m going to make it so that you can subtly scan them if you get up close and undetected.

If they have a module you’ve never used before, you’ll gain the ability to salvage it if you later kill the bot. And if they don’t, you’ll be able to read their robo-thoughts. Not entirely sure what I’m going to do with that, but even if it’s just an array of pointless introspection it should be fun to write.

Ludum Dare 19

I’m going to enter Ludum Dare this weekend. It’s a competition where you have to make a game in 48 hours, based around a theme. Right now the theme voting is still going on, and will only be announced when the competition starts in four hours. I’m exhausted so I’ll be asleep by then, ready for an early start tomorrow.

I’ll be using Game Maker, Paint.net and an amazing program I only just discovered while reading the Ludum Dare rules: sfxr. It generates sound effects according to some sliders you set, and you only have to click the preset buttons a few times to realise this or something similar is where all Spelunky’s sounds must have come from.

When you enter Ludum Dare, you can decide to go for the competition, or the jam. In the compo, everything must be your own work and the theme is not optional. Those games are rated by participants in various categories. In the jam, you can work in teams, take an extra day over it, and the rules are pretty loose – you just won’t be judged.

Unless the theme is awful, I’ll be going for the competition. Right now it looks like the forerunners for theme are Discovery, Depth and Containment, which I like a little, not much, and a lot, respectively. I thought I’d be okay with any theme, but some of the finalists are stuff like “Text input action game”, “Game based on a year” and, no kidding, “Don’t die”. If it’s any of those, I will almost entirely ignore them and maybe just go in for the jam.

I’ll probably blog my progress, and try to do a time lapse video. I may end up with nothing – I’m not fast, experienced, or good at judging scope yet, and I plan to eat, sleep and take breaks. My God have mercy on my soul.

Lost, Season Four, Spoilers, Obviously

The interminable filler episodes between each premiere and finalé were doing a pretty good job of killing my enthusiasm for Lost. And towards the end of season three, the silliness was just getting silly. There’s a character called Taller Ghost Walt. Jack’s dead dad got better. Ben isn’t really in charge, he takes orders from an invisible man who can cure cancer and lives in a teleporting shack but hates technology.

But then I enjoyed the very end of that season, in an I-don’t-really-care way. And now I’m enjoying the start of the new season, in an oh-wait-actually-I-do way.

Starting on a Hurley episode was a quick way to my heart. I could have done with less teleporting shack action, particularly since it now apparently has Jack’s simultaneously dead, undead and never-died dad in it, but even that is sort of entertaining from Hurley’s perspective.

Glad that the factions finally split, glad that Jack’s was so unpopular, and glad that, after he made his choice, it became woefully clear that The Other Others weren’t here to rescue them. Daniel, the nervous physicist with a gun, does such a dismal job of reassuring them that his every scene is comedy.

The Other Others, unlike most of The Others and The Tailenders, are mostly welcome additions to the cast – Daniel’s loveably neurotic, the pilot’s likeable, Miles The Angry Semi-Evil Techno-Exorcist is likeably dislikeable, and the woman will hopefully die soon.

I couldn’t tell you why the wilfull absurdity of Miles’ profession doesn’t grate with me the way the invisible cancer-curing teleporting luddite did. I think because it’s brief, and no big deal is made of it. That understatement also does wonders for the scene with Daniel’s bizarre experiment – it doesn’t overplay what happened there, but it’s fascinating if you got it.

Hello, dude from The Wire! Explain chess to us in Baltimore gang terms.

But the main thing I love about Lost at the moment is the darkness implied by what we’ve seen of the future. I’m really pleased they stuck with the great idea of switching to flash-forwards instead of flash-backs, leaving the island in the past and making it feel like the plot’s finally progressed. And I’m even more pleased about what they’ve shown.

Kate hates someone so much she can’t even be civil about his funeral (my bet is Michael, by the way). Jack hates his life so much he spends it trying to get back to the island. Hurley’s so haunted that he jumps at the chance to spend the rest of his life in an institution. And Sayid – Sayid is a hitman for Ben?

That’s the worst – and hence best – of it. They’ve escaped the island and they still haven’t escaped Ben. The weasely mass-murderer who seems to spend most of his life at their mercy, yet always end up back in charge. Hopefully the reasons for this won’t be as feebly contrived as Abram’s scoffable methods for keeping Ron Rifkin’s character ahead in Alias.

Graham points out that Lostpedia (from which these stills are stolen) is overflowing with absurd theories. My favourites are that a change in photo frames during the Miles flashback indicates an entirely new timeline, that the island is keeping Jack’s father alive so he can pay Sawyer back for a drink, and the entire Theories section on the nature and causes of Jack’s beard in the final episode of last season:

Jack’s beard

• Jack grows a beard because he’s become an alcoholic addicted to pain killers who doesn’t take care of himself because he is depressed.
• Jack’s stubble appears Grey on the island, but his beard is not in the flash forward.
  • He could have just dyed his beard.
    • Jack has become “an alcoholic addicted to pain killers who doesn’t take care of himself because he is depressed” but cares enough about his appearance to dye his beard to not look old.

Seeing the Lost game recently, which Damon Lindelof describes as “RIDICULOUSLY AWESOME!”, had made me forget that anyone involved with Lost was ever talented. I’m glad the fourth season started to remind me.

Lost Season 2

Holy- what the hell was that? Urgent meeting regarding Lost, season 2, in the TV section! Bring cigars and brandy. Spoilers galore there, none here.

Lost

Lost is almost inexplicably better than it sounds – a bunch of people stranded on a tropical island after a plane crash, brought together by FATE, each with SECRETS, which we find out about through FLASHBACKS. I should have known it wouldn’t be long before amnesia featured in the plot. JJ Abrams’ last series Alias was good, but it’s not any more and it was never this good. This is genuinely brilliant television, the kind you could just string together to make a great film.

If Alias was defined by its ridiculous cliff-hangers, Lost is defined by ridiculous mysteries. Since the start of the series twenty-five episodes ago, the following elements have cropped up and been developed to the extent detailed here:

• The Monster: We don’t know anything about the monster. It might be big. It might not exist. It could also be robotic or organic, or ethereal, or none of these.
• Jack’s Dad: Jack’s Dad appeared. We don’t know why or what was going on.
• The Hatch: Locke discovered a hatch. We don’t know what it’s doing there or what’s inside, or what the thing is it’s built into. Since the hatch was discovered, virtually every episode has been about it. So far, we have discovered: nothing. Once the hatch lit up. We don’t know why.
• The Numbers: Hurley won the lottery with some numbers. They might be cursed, or not cursed, or it might be fate. Or magic.
• The Others: There might be others on the island, or there might not, or they might not be on the island, or they might not be others. If they are and they are we don’t know who they are or what they’re doing there or what they want.
• The Kid: The kid knows something about the hatch. We don’t know how or what and now he’s gone forever.
• The French Woman: There is a French woman on the island. Something killed the crew she was with. We don’t know what and now she’s gone mad.
• The Polar Bear: A polar bear appeared. We don’t know why or where it came from or how it got there. It was killed and never mentioned again.
• The Other Half Of The Plane: We don’t know where it is or what happened to the people on it. They might be still alive, or dead, or trapped sixteen years in the past with a magic time-traveling radio.
• The Island: The island might have a will of its own, though it might not and if it does we don’t know what it is, why it has it, or how it works.

Whichever of these wildly vague concepts you might be hoping for clarification on, you’re perpetually disappointed. The appeal is that by failing to resolve any of these plot lines, they’re never cheapened by specifics. Their enigma gives them a lasting menace that only improves the tapestry of sinister threats mounting around the ever-diminishing survivors. All of them verge on the mystical without being scientifically inexplicable – given a degree of imaginative license. We still don’t even know what genre we’re working in – sci-fi, fantasy, supernatural or real-world.

But the writers seem content to leave that ambiguous too – they’ve got plenty of stories to tell in flashbacks to the castaways’ previous lives, and some of those have been extraordinary. The glimpses of the mysteries, too, have been expertly judged. The one ‘Other’ we’ve seen – despite being just some guy – is one of the most unsettling bad guys ever. Even small things like making sure you realise dynamite is dangerous – they have the dynamite expert annihilated by it when handling it as carefully as he can, and from then on you’re screaming at the characters to walk slower, don’t put the dynamite in their packs, don’t use flaming brands for torches.

Locke: Hugo, take these extra sticks back a couple hundred yards.
Hurley: Me? Oh, okay. Got it. ... Can I have a flashlight? 'Cause, er, the torch-near-the-dynamite thing's not making a whole lot of sense to me.

Which leads nicely into the other reason it’s great: Hurley. On paper he sounds awful – a fat comic relief character who just says “Dude,” “Yo,” or “That was messed up” at oppourtune times. But that fails to take into account the sheer brilliance in the timing of his Dudes, Yos and That-was-messed-ups, and also that he says them flatly, rather than in the Keanu Reaves surf-slang drawl. Essentially he’s just a guy who watches a lot of TV, in a TV series, saying the things you feel like saying yourself (as above).

The comments below assume you are up to date with the story as it’s being aired in the US – they may spoil things for you if you’re not.

Lord I Just Don’t Care

I’ve been wondering when and how best to post something of Florence and the Machine‘s for a while, pretty much since I first heard them on Adam & Joe. I didn’t doubt it would be Dog Days, the exhaustingly energetic rollercoaster of a song I heard first, I was just waiting till they had something out for it to promote. I forgot that what they released could theoretically be better. They still don’t have an album, but this is Dog’s B-side: You’ve Got The Love. Continued

Listening To Your Sound Effects For Gunpoint

I asked if people wanted to make the sound effect for when you switch into Crosslink mode in Gunpoint, the view from which you can rewire how everything works. People did! Thanks, those people! I’ve made a video of me listening to some of your sounds, and reacting with a mixture of delight, horror and confusion. Continued

Life Complete

In the TV ad for Valve’s Orange Box, the robo-voice from Portal – who you will eventually discover is called GLaDOS – uses journo quotes to summarise each game in the package. One of them is mine! To reiterate, the GLaDOS reads out my words. It will be on American telly. I’ve had a quote in foot-high letters on buses before, but now I can truly die happy. This basically makes me a writer at Valve.

Oh yeah, and I guess the issue with my three Orange Box reviews is on-sale now. It comes in a pretty awesome orange box, but the cover inside is even plus awesome.

For once I’m almost completely happy with my reviews, particularly the insane diagram in the Team Fortress 2 one. Tim deserves the credit for making sure that happened, and our Deputy Art Ed Amie Causton for turning my hilariously rubbish notepad scribble into what you see on the page. I also offer mad props to Valve’s super-artist Dhabih Eng, for painstakingly posing the beautiful lineup that opens the review. It makes me smile every time I look at it.

The Team Fortress 2 review is now online, sans diagram and awesome opening spread, and the other two reviews will go up when the Orange Box itself is live.

Let Us Mumble You Through Our Supreme Commander Game

 
We finally got around to turning one of our many SupCom matches into a video you can watch. It’s the one written up in the latest mag, six of us versus two cheating AIs.

Let Them Eat Facts

It’s that bi-annual tradition of looking through the top twenty search results that lead people here, noticing that they’re all wildly misleading, and in the spirit of giving people what they want, or at least what other people once wanted, trying to address those curiosities. In descending order of wantedness!

wii controller
Yeah. I was pretty wild about the idea, but I was dreaming of something more precise and reliable than this. Without those qualities this can’t replace the mouse in the way I wanted it to, but it’s still vastly more pleasurable to use than any other console controller. That’ll prove its main contribution to games: making individual actions pleasurable, rather than more sophisticated or artful, and there’s masses of unexplored territory there for games about smashing things up, hitting stuff and chucking it around. In other words, exactly the kind of off-the-wall concept-driven stuff Nintendo can do well.

ah that wonderful ability sylar script heroes
You refer, I imagine, to Sylar’s line to Eden in episode 11:

extra life omlette aliens
Okay, I lost you at ‘omlette aliens’. Extra Life is a section of our magazine that I contribute to, but if you’re looking for omelette aliens you may have meant ‘extra-terrestrial life’. You’re mis-spelling omelette, too, so I’m not going to try very hard to find out what you were looking for, find it or bring it to you.

711391
My unfaithful friend. This is the woman whose search-engine usage over the three months for which AOL decided to publish her and three-thousand other people’s personal data painted a picture of a sad, broken modern life, quite literally warts-and-all. She’s a loathesome, deceitful, callous woman, but reading those search queries gives you such a comprehensive understanding of her life, thoughts and motivations that it’s impossible not to understand her. And understanding, it turns out, really does lead to a strange kind of forgiveness, or perhaps just acceptance. If you knew with this level of certainty, this level of insight, why everyone did what they did, it’d be hard to ever truly hate again. She probably won’t go down as a victim of one of the most heinous breaches of privacy, but I think she warrants the title most complete, most merciless, most interesting.

“rhetorical bombast aside”
Okay, hands up who searched for this. I mentioned it as something I was particularly pleased to see written on this site, by commenter Jason L, and it looks from this search like there’s only one other site in Google’s brainbanks that’s ever used the phrase. I didn’t search for it, until just now. DID HE?
 
i donloaded a video file with bittorrent but it is a blank white page
Okay well your first mistake was to donload, rather than download, it. Your second was probably to open the .torrent file as it were the movie, or perhaps just open it with the wrong program. Your third was to confess to what was almost certainly a crime in a search string. Next time try “I hear movie pirates sometimes find that the video files they download with BitTorrent come up as blank white pages, and that there is a solution to this problem. I wonder what that solution is, so that I can undermine it, in order to scupper pirates, whom I hate.”

battlefield 2142 disc doesnt recognise
I know! It’s a complete dick. My Battlefield 2 disc was clasped so tightly in its case that it cracked before it would come out, and now my 2142 one goes completely unrecognised on about half the machines I’ve tried it on. I wouldn’t care if EA’s digital distribution system worked in any goddamn way whatsoever, but my legitimate copy on that has never once launched successfully, and their tech support guys have simply given up trying to help me. I was only trying them to see what they’d do – I’ve got access to a working disc that I can use to play anyway – and they failed utterly. I should expose them, if only that were the kind of thing anyone would care to read.

“zombie zombie zombie” virus virus flash
I can’t decide which is more intriguing, what this person was looking for or the fact that I must, once, have said “zombie zombie zombie”. Without that second ‘virus’ he could almost be searching for an infection his PC has suffered that involved printing the undead triplet somewhere, but as it is he seems to be penning a tribal chant for our times, to be sung around bonfires while stomping and bouncing in a slow-moving circle.

delicious pentadact
Aren’t I just, though?

getting windows to recognise a wiimote
I believe you need Glovepie. I have no idea what it is. Those are just words to me, and ones that need a space between them at the very least.

just cause where is the fighter jet
I actually can’t answer that one. I did find it, but I don’t recall where and our review code has now expired. Guides online are surprisingly rubbish, too. If it’s any consolation, the only time the jets are really fun are on the missions when you’re given them to begin with – the rest of the time there’s not much to chase. You could always get in a lot of trouble with the cops and grappling hook one.

primer movie wikipedia
 I’m going to assume you found what you were looking for, and not mock you for using Google to find something when you already knew where it was. I use Firefox’s Google-powered address bar to virtually describe where I want to go and assume that it’ll jump me straight to the right page. Addresses are so passé.

replacement nintendo sensor bar
I hear a candle works. I hear it’s actually a bit of a misnomer – the bar isn’t sensing anything, it’s putting out IR for the Wiimote to detect, and it’s the controller itself that works out where it’s pointing and sends that info to the console via the same Bluetooth link the accelerometer uses.

incurably ill dvd
Get a new one?

last episode of dexter
Pretty good, wasn’t it? I loved the confetti bit right at the end, it needed to go back to how fucked up he was.

morrowind sexy armor for females mod
I could help you, since my staggering knowledge of the later Elder Scrolls series extends even to things I would rather not know, but I get the impression you’re not the kind of person I want to help.

Let Me Show You How To Make A Game

After 7 months, 25 episodes, and about 16 hours of total running time, my tutorial series is complete! I talk you through making a game, from writing your first line of code, to releasing and selling it. It’s aimed at absolute beginners, it only uses free software, the tutorial itself is free, ad-free, the game we made is free, and it’s in fairly digestible 45-minute episodes.

Hope it’s of use! Here’s the game we made:

Let Me Mumble You Through An Early Version Of Gunpoint

The game I’m making, Gunpoint, is an infiltration game that lets you rewire its levels to mess with your enemies. It is ugly and has no animation.

I’ve learnt to do a lot of new things while making this, but art always takes me ten times as long as it should, and ends up… well, look at it. So I’d like to find someone who’s willing to help out with the visual side, particularly with animating the characters. There are only a few, it’s pretty simple.

In case anyone is interested, I thought I should talk you through what the game’s actually about so you can see if it’s something you’d want to be involved in. And for everyone else, I’d just like to give a better idea of what it does. I will probably regret this.

Here’s me, talking you through a very early prototype of the game as I play it. This is also my first stab at making a video, which is why it’s barely visible at anything less than 720p, everything’s tiny, I’m really quiet and the game sound drowns me out a few times. Enjoy!

YouTube (HD) – Direct Download (80MB .avi)

The e-mail address is pentadact@gmail.com. Let me know what you think in the comments, and fling the link around if you found it interesting. This is a lot more than I’ve shown publicly before, so I’m interested in whether it seems appealing.

The catch is I can’t pay you – I’m making this in a small portion of my free time, it’ll be free when it’s done, and my budget is zero. So I’m looking for someone who wants to help out for fun, practice and experience.

I’d love to see what you want it to look like. You don’t have to have any experience or qualifications, but if you could do a mockup of one character and their walking animation, that would be awesome. You can post it in the comments here or e-mail me.

Characters are about 24 pixels tall currently, but you can stray from that if you want to give the whole game a makeover – all the level objects and stuff.

There’s a pretty good chance no-one’s going to be up for this, in which case I’ll just do it myself once the rest of the game’s done, but it’s worth asking. I’ll still finish it, it’ll just be later and uglier.

The art that’s in there right now is a vague guide at best: I want the main character to have a long coat and a hat, but everything else is up to someone with actual ideas in their brain. The guards aren’t supposed to be grey – this guy was originally a deranged civilian but I cut that role.

To be clear, here’s what’ll ultimately need doing:

• Walking, climbing and ceiling-climbing animations for the main character.
• Walking and running animations for guards, armoured guards, and professional killers.
• Walking and running animations for some kind of civilian dude, and slight variations of him.
• A few miscellaneous combat interactions.
• A bunch of stuff I’ve forgotten.
• Optionally, any environment and character art you can improve on. Lord knows it sucks right now.

The very loose time frame is about two to three months. The game may end up taking longer than that – I’d like to have it out by the end of July, but even that’s not a hard deadline. Yay development!