Kasumi wrote:Same deal. Splashes of color is easier because you've got four palettes. If you'll use three colors (like blue, dark blue, and black) everywhere, then you have one extra color four times for the background.
Sprites have fewer colors, but I'm sure it will be no issue at all for your game.
That's good to hear. Again, it's very much my goal to make the best of little. In my art and film work i only ever use a limited palette. Keeping things simple is often the most effective way, and it definitely suits my style.
Everything you've said really sounds like Limbo. Journey through hell, ambiguous ending. Very desaturated. A Limbo like thing is possible on the NES, but its atmosphere would likely be severely affected. But that doesn't seem to bother you. In fact it seems you may even allow the game to suck.
Lol, well i definitely don't intend to allow it to suck! Yeah Limbo looks very cool indeed, i'll check out more of that for sure. I think an uneasy atmosphere can definitely be created on the NES, with the right narrative and visuals, the right scripting etc. I remember being scared just reading Fighting Fantasy gamebooks, or playing games like NES Robocop. When ED209 came on the screen i nearly shit my pants. Of course, todays gamers may not feel this way, but they're not exactly the target audience. Also, i should mention that part of the fun of this project will be presenting it as a game made in 1989, as opposed to a game that has just been developed. A lost game, so to speak. One of the enjoyable things about that is that people will be forced to look at the game in context, even if its an unknowingly fictional one.
So, I'm out of reasons. I could do even do it, I'm just not sure I'd want to. I guess I understand your goals with this whole thing. You're a person that likes trouble.
Haha, well i can't deny that in some respects. I'm definitely looking to cause a bit of mischief with the way the viewer engages with the work, but in terms of creating the game, i really just want to do something a bit different.
If I see a prototype/good mockups I'll be less of a killjoy about this. Especially if I can just slightly modify the engines I've already got. Because, hey, I wouldn't mind being paid for this. But bleh. Like everyone else, I play the waiting game until I see something that has something to do with NES to get me excited about the project.
I totally understand yours and everyone else's reservations about any project proposal like this. Everyone here has been a really good sport about it though, and i've had so much help already, not to mention a fair bit of interest in involvement, so i definitely realise it's up to me now. I'm not going to try and forcibly persuade anybody of my intentions; i realise that i need to pull this brief together, some design ideas, as well as some audio and visual work. I hope then people will see the potential to be excited about what i want to achieve.
One last question: Is all this going to be released at once? (seems so, but I gotta ask)
Esssentially yes. The film and the game and a couple of other facets will be part of an exhibition in the summer of 2013 (and then hopefully many other exhibitions after that, i already have a great deal of interest from people in this) It's also a project that i intend to keep expanding. I have a LOT of ideas for this expansion, and i'm happy to take my time doing them. The deadline for the film and the game is essentially two years from now. I plan on spending much of this year working on more prototype sketches for the film, art and music etc and then the second year (late 2012 - late 2013) executing the final works.
Since the film could (maybe) possibly inspire game ideas if it could be seen first.
Absolutely. The film won't need to be finished to do that. In many ways i want to actively work on them in parallel. Already, they've begun to inspire each other which is great. I have one moment planned in the film for example where a character performs an action. Over the last day or so i've realised that this will provide an excellent central mechanic for a game. In turn i decided to re-incorporate that mechanic in greater depth in the film.
Edit: Oooh, another question.
For things like source code, what will you need? I imagine that source of the actual game, but that may or may not be useless to you. Say you have a falling out with a programmer who has a completely custom map format, and you never get the source or exe for his map editor?
This is my main worry. I'm not worried about falling out with a programmer, i'm a very easy person to work with. I am however worried about commitment. This is a serious project and it has a very real deadline. Commitment is crucial. This is why i want to bring money to the table in some capacity; so that the person working on the programming not only feels appreciated and is being compensated for their work, but also that it is a professional engagement. I'm very much looking to have a great working relationship with a programmer and good chemistry, but the bottom line is i'm hoping to hire someone to do a job and treat it professionally.
For these reasons i will be looking towards safeguarding the situation from the get-go so that should that person be unable to finish the work, it would be possible for another to continue the work. I imagine we would have to enter into a contract of some sort, but as of yet, being very noobish myself, i'm unsure of the best way to do this. I don't want to worry about this too much right now, i'm not eager to get all serious about things during a phase where i think it is important to be creative, i just want to make sure i'm aware of potential problems, and again this aspect of the process is something that nearer the time i'm hoping you guys will be able to help me with!