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description= At last! A path to follow! cried the fool, happily taking the map. Perhaps, the sun murmured, yet things are never as simple as they may seem. ;
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you and he said yes so i threw in a couple more questions for background and here you go what inspired you to make paint it back the release of the ipad and my wanting to play picross ds on it how long did it take pretty much three years but two side projects that took three or four months each and a few periods of sloth account for some of that time who worked on it i worked on it by myself up until it was time to add characters to the game i wasn t liking what i was coming up with so i looked for a local artist here in st louis and found jeff weigel he drew the characters the paintings in the ghost scene the ghost other stuff what engine did you use cocos 2d for iphone what was the hardest part of transitioning to ios from pc probably learning objective c it takes me a while to get comfortable in a new language where can people find it apple app store here ed the images are quite varied and funny but also quite limited in fidelity how did you come up with images t here wasn t one single overriding approach that i used other than to draw them on an ipad using a pixel art app called edge touch sometimes i d start with the title and then try to come up with a fitting image deer tick flying first class was one like that others were finished scenes that needed punching up mugged while tightrope walking was originally just a guy tightrope walking some started from drawing random shapes and trying to see something in them a lot of the smaller paintings came from this method who did the art both painting and scenes jeff did most of the stuff that looks like a real illustrator did it characters paintings in the ghost scene other stuff i did all of the puzzle paintings ui effects animations a lot of stuff we worked on together so it s hard to say who actually did it how long did it take when did you start in earnest the whole game was 2 2 1 2 years of actually working on it most every day the time to create a single painting could take between 10 minutes or 10 hours some were a real pain to playtest and revise down to only one solution i m looking at you crazy stairs i made the majority of the paintings during the evening while hanging out on the couch watching tv that period stretched over several months how did you decide on the size for a painting that was dictated by the painting itself i found early on that trying to force an image to fit into a standard nonogram puzzle size like 10 10 didn t always make for the best looking painting i decided to support strange grid sizes like 16 20 or 24 32 because a painting would just wind up looking right at that resolution if i liked how a painting turned out i d have to add support for that grid size there s paintings in the game that are the only ones at that particular resolution how did you figure out what order to put the paintings in how did you figure out what was hard easy i originally made around 75 paintings without thinking about where they would live in the game at some point i was looking them over and realized i could group some of them together by common themes in their titles the rooms came out of this after that i created paintings for specific rooms determining the difficulty of a painting was just play testing the drawn image if it was unsolvable without guessing i d alter it and re test it until it was solvable how did you approach naming the paintings no single approach although every painting title had to at least be intriguing who did the music it s very catchy coda i decided to use tracker music looked around the net for a music person and found coda s extensive backlog of songs i picked out a few i liked and pay pal d him the licensing money why the 2 modal buttons for paint and block how did you arrive at that solution up until two weeks ago it wasn t modal more than one beta tester suggested it to be modal so i tried it out and i thought it was an improvement a user was complaining of accidentally painting squares because of fat fingers this helped to cut down on that i d recommend trying some of the puzzles without using the block tool for extra challenge i find it kicks the mental gears an extra notch ed how much testing did you do and when i started having people test it around a year before it came out the tutorial went through many iterations at first it was 17 paintings and people complain about the 7 paintings in the current tutorial being too long why does the game support device rotation but only after the first few levels the tutorial room doesn t support rotation i took the lazy way out there it has to do with the way i handle the recreating the scene when you rotate the artist s dialogue complicated matters why did you do paint it back over other concepts what s the story of how you knew pib would be what you shipped next a lot of reasons it was a project i could handle largely by myself i liked making the paintings there seemed to me to be an opening in the app store for a quality nonogram game it was a game i would want to play if i wasn t making it the theme of museum art seemed like new territory to explore in a game the project just felt right to work on what do you hope players take away from the game mild amusement and satisfaction having done both indie and industry what are the highlights of each industry steady paycheck learn from others around you see aspects of the game industry outside of your discipline indie you can t beat working on your own ideas non standard work schedule if you want you own all of the assets and what are you planning next no specific plans totally depends on the reception to pib if it goes well i d definitely consider making more paintings if there was a scene of people making their own paintings i d ask people to submit them to me and i d pick my faves group them into a room call it outsider art and release it as a free in app purchase i ve got a backlog of game ideas i d like to prototype i ll probably pick one and start tinkering or maybe i ll do absolutely nothing for a while that sounds good too posted in game criticism game design game production leave a reply dawngate posted on july 21 2013 by dan kline reply dawngate is in beta i did the early design work on dawngate before i left to help finish simcity hunter howe and the team did an excellent job bringing dawngate to life and i recommend you check it out particularly if you ve tried mobas in the past posted in uncategorized leave a reply game of the year 2012 edition posted on july 21 2013 by dan kline reply i realized i forgot to post the game i most enjoyed in 2012 so a quick note my game of the 2012 was journey my very close runner up game of 2012 was ftl my most played still was league of legends all of them are excellent games that deserve your attention posted in game criticism leave a reply the rema model the pame model posted on march 23 2013 by dan kline reply just a quick update on my latest thoughts on rema reflecting more on daniel pink s work initial thoughts and a recent blog post on gamasutra it s become clear to me that rema stages might better be represented as e purpose autonomy mastery stages followed by a sharing or artistry stage i ve already talked a great deal about rollercoaster and purpose and mastery is an obvious link but the connection between autonomy and experiment games has really been driven home to me lately particularly looking at how games like skyrim and minecraft are enjoyed freedom and creative are the words at the core of this play strongly linking them to autonomy i ve also been thinking about civ the importance of management play was driven home in the brainhex 2 studies and civ clearly fits in that category and while there is some mastery appeal from what i know the primary appeal of civ is the freedom and autonomy aspects build an empire that s your version of history most players play only once and play on low difficulties where they are going to stomp the ai rather then engaging in the available multiplayer play in fact civ is a great example of the conflict between autonomy and mastery as for years firaxis has maintained the mastery side of the game despite the continued challenges of it such as the unsatisfying victory conditions stealing losing is fun from dwarf fortress would probably greatly enhance the series for the main audience but they d lose the mastery group that is their most devoted so i ve been confident management gamers belong in the autonomy experiment group they want to do things their way they want options to chose from succeed at implementing them and have extra long sessions of progress what i think of as cascading plans which is a key experiment game reward that drives the 1 more turn feeling and deserves its own post note here its not creativity linking experiment games it s autonomy putting all that together i ve decided to focus on purpose mastery and autonomy by naming rema to pame daniel pink s work is widely read backed by applicable and interesting research and his words are more descriptive and have broader context i renamed application to expression which i think is also clearer and now has better alliteration what s your thoughts on this curious how people have been using rema in the year since i posted it and whether these changes are helpful posted in game design the rema model leave a reply the rema model the mario conundrum con aside it might be tricky to classify mario as one rema genre but super mario land 3d designers definitely used rema as the core of their design vision but it wasn t really until super mario 3d land that i think i really became a lot more rigorous about enforcing that in level design where you have a clear concept in the beginning and that s carried through absolutely all the way why do you think that that s important kh well i think it has a lot to do with the acquisition of a skill which is something that often appears very similar to the way that a narrative can develop so if you take a single gameplay element let s think about the steps that happen first you have to learn how to use that gameplay mechanic and then the stage will offer you a slightly more complicated scenario in which you have to use it and then the next step is something crazy happens that makes you think about it in a way you weren t expecting and then you get to demonstrate finally what sort of mastery you ve gained over it it s very similar to a narrative structure that you find in four panel comics and this is something that ends up giving the player a kind of narrative structure that they can relate to within a single level about how they re using a game mechanic the reference to manga narrative using similar form is fascinating it hints at a deeper connection between rollercoaster play and mastery play posted on april 16 2012 by dan kline leave a reply simcity posted on april 15 2012 by dan kline reply i can talk about what i m working on again i m one of the designers on as you can imagine it s quite a thrill to be working on such a whirlwind of rollercoaster experiment and mastery multiplayer design i look forward to sharing details about the design through the simcity forums and blogs i ll cross post them here when i can posted in life leave a reply the rema model collected links posted on april 15 2012 by dan kline reply here s a list of all the rema model articles published so far if you re interested in this design lens i recommend starting with part 1 and exploring these core posts the rema model why do we play in so many different ways the rema model part 3 rollercoaster games the rema model part 4 experiment games the rema model part 5 mastery games and the rema model part 6 the mario conundrum in which i realize my first post on mastery games was too narrow the rema model part 7 application games the rema model part 8 uses in game design and some related posts if you re interested in more detail the rema model part 2 an example the rema model part 3 con responding to koster on immersion the rema model part 5 con mastered clarifying mastery play is not always about dedicated practice the rema model part 6 the mario conundrum con posted in game design the rema model leave a reply interview andrew doull on procedural games posted on march 4 2012 by dan kline reply i had the opportunity to interview andrew doull this week unangband developer creator of the procedural content generation wiki contributor to the podcast roguelike radio and deep thinker we chatted about all things procedural the role of narrative in procedural games the impact of the indies the problems with a procedural zelda and how roguelikes can teach us unique things about life listen here andrew doull interview mp3 enjoy games covered includes dwarf fortress binding of isaac minecraft brogue 7drl competition spelunky galactic arms race facade posted in game ai game design interviews leave a reply trait inflections intrinsic and extrinsic motivation posted on february 26 2012 by dan kline 1 i ve been reading daniel pink s book drive and thinking about intrinsic and extrinsic motivation in particular rollercoaster games rely heavily on carrot stick motivation extrinsic rewards and punishments and experiment and mastery games more on autonomy purpose and mastery his tools to create intrinsic motivation this is really interesting because it provides a clue as to why these genres have evolved the way they have since rollercoaster games rely heavily on rewards and punishments they have to be short extrinsic rewards don t motivate for very long and rely heavily on giving you new and exciting rewards since you get acclimated to them quickly which story is perfect for story also gives you very strong purpose above the gameplay which probably helps sustain play over hours despite the limited autonomy and mastery they are happy to add story even if though it usually hurts gameplay meanwhile experiment and mastery games have deep autonomy and mastery and so need less of these extrinsic rewards to get players to heavily invest they don t have to make hard choices between story and gameplay gameplay alone is enough posted in game design the rema model 1 reply the rema model part 8 uses in game design posted on february 12 2012 by dan kline reply now that we ve covered the basics here s some of the things in rema that have made me a better designer a common lexicon rema gives us a common lexicon to talk about why some games are designed differently and play differently that s a big deal on a dev team often one designer wants to make an experiment game and one wants to make a rollercoaster game and they just talk past each other understanding rema these debates can be resolved set expectations it is useful for players and critics too players play different games when expectations are wrong confusion ensues if developers use rema language to communicate genres with audiences rather then the meaningless action rpg or sandbox it matches the right audience to the right game and players can happily embrace e...
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