• Completely redesigned Windows-based IDE for creating your games as quickly and easily as possible. For screenshots of the IDE, have a quick browse of the beginners' tutorial.
    The IDE includes source control integration with popular tools like Sourcesafe and Perforce.
  • The Windows game engine has a hardware accelerated Direct3D graphics driver, giving extra performance for graphically-intensive games. The software graphics driver is still supported too, for running on older systems.
    Graphics filters allow you to easily scale up low-res games to run on modern systems.
  • Native Windows, Linux (x86) and Mac (currently in beta) versions of the game engine, to maximise the number of people who can play your game.
  • Powerful yet simple Java/C#-style scripting language for scripting your game. Set up the game basics with point-and-click in the editor, and then script how the game deals with various events and inputs.Autocomplete, function calltips and on-line help are all available when editing scripts.
  • The IDE has an integrated debugger to allow you to step through your script and easily trace down the source of errors.
  • In the graphics arena, choose from 256-colour, 16-bit colour and 32-bit colour - either go for that retro feel, or enjoy the benefits of no palette! It's up to you. Alpha-blended sprites are supported in 32-bit colour games.
  • Screen resolutions of 320x200, 320x240, 640x400, 640x480, 800x600 and 1024x768 are supported. Your game can be run full-screen or in a window.
  • For sound and music, you can use OGG, MP3, WAV, MOD, XM and MIDI files. Ambient location-dependant sounds, automatic footstep sounds, multiple sound channels and crossfading between music tracks are supported too.
  • Play cutscene videos using OGG Theora or standard Windows files such as AVI and WMV.
  • Easily create talkie games if you like - speech is compiled into a single data file, which you can distribute as an optional download.
  • Easy inventory management - just define all the items in the editor, then use simple Give and Lose commands during the game.
  • Almost everything is customizable, from the GUI you use to the mouse cursor graphics. Standard Sierra and Verb Coin templates are supplied, but user-made templates of other GUIs can be downloaded.
  • Create non-player characters roaming your world - they each have their own inventory and can be smoothly scaled and lit in different areas. 2, 4 and 8-directional walking animations are supported.
    Multiple player characters, such as in Maniac Mansion and Day of the Tentacle, are possible too.
  • Scrolling rooms are supported by simply importing an image larger than the screen resolution.
  • Lucasarts-style conversation system should you want to use it.
  • Translations of your game to other languages are easy to make, and can be distributed seperately as add-on packs.
  • Plugin system which allows more advanced developers to add extra functionality to AGS.
  • Compile your game into a single EXE file for distribution. Digital music and voice samples can also be compiled into seperate files to allow for optional downloads. You can of course set a custom icon for the produced EXE file.
  • The game script is compiled to byte-code when you save the game, to maximise the speed of the engine.
  • All the standard things you would expect, such as game Save and Load features, automatic pathfinding, sprite mirroring, walk-behinds, hotspots, objects, cutscenes, animations, timers, and so forth.
  • View media
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3


You know, while the game does feature a lot of introductory cutscenes and I've always liked being verbose in the way dialogue is written, I've come to realize that graphics hold a fantastic power over words at least when it comes to games. Possibly generally, but definitely in games. For instance the scene above is an introductory minor cutscene of 20 seconds or so, of Chapter Six. If we attempt to break it down, we'll see that it hands out the important info to the player right away. It keeps the background of the Neon City on the back, letting us know we're still in some part of the universe/world, and then in a somewhat grandiose way introduces us to a new one. A theme park. I wanted to portray how the theme park is abandoned and barren/empty, but the shot does that for me. The flying debris, the closed gates, the desaturated colors that engulf the animation, all convey the feeling we were aiming for - Abandon. Initially a lot of dialogue was part of the game, but let's be honest, everyone skips dialogs one way or another. So I've had a lot of time spending over dialogues written thinking to myself "What happens if I completely erase this sentence?"

And sentence came to be paragraph. And sometimes the entire scene has been kept silent letting the graphical work of Andrea Ferrara, our artist, speak for itself. The most common Chinese saying, does apply still valid. A picture is worth a thousand words.

So, this idea came to alter the project in many ways. Instead of a writer, I had to be a facilitator (in a sense). I have/had to make sure that whichever way we're picking to present a part of this world, I had to be able not to only transpose it in words to explain it to the artist, but also to be able to facilitate through coding, the implementation of such idea. In the theme park shot, it had to be vertical scrolling, which is fairly simple honest. But that wasn't always the case.

4


This scene here, is the introductory to Chapter Five. I've always had a love for rain to be honest, and nothing says more cyberpunk than rain and neon lights. As you can see the compositions are still similar in many ways, except the vertical scrolling. The city exists in the background and in the foreground we have an RGB effect on the background and over it 3 layers of rain, each closer to the camera. Chapter Five is about a manhunt that takes place in a crowded part of the city full of people. And this shot, along with 2 more, helps us realize where we are, and all the parameters regarding our place. There is of course dialog over it, but as minimalistic as possible, and mostly focusing on doing parallelisms between the crowd and the person we're here for.

1


Returning to the facilitator angle once again, you can see a glitch effect being applied to two images that alternate within a certain time limit. This is the stage select for Chapter 10. I've figured instead of spending time creating more cutscenes where the protagonist is being blackmailed, I would use the UIs to tell that part of the story. Here very simply, we see two time feeds from a camera showing the "damsel in distress", Emily being covered in blood. As the protagonist also gradually loses his mental state, it's hard to say if this is real or not. We, as players, are meant to be shocked and weirded out through the violent imagery of our loved one being presented to us. As the chapters unlock, this imagery begins from "subtle mirages" to "violence-filled threats".

And so through different means, like a background holoprojector on the apartment ( a place where you return to when a chapter ends)

15


and a TV offering a variety of programs, including advertisements like this one:

8


I've come to realize that there's no necessity to force things on the player with dialogue and super long cutscenes. As long as there's content available portraying subtle, yet strong, projections to the player, one can create what can be called a Living world, and this has been a main focus of our game. There's nothing forcing you to watch the Television or stand and see the holograms, but they exist to show depth for those who seek it.

PROGRESS STATUS:

Meanwhile we have 3 stages left to finish the entire game, which is nice, can't wait to see it finished myself, it's been over a year now.

6


The Order of the Thorne: The King's Challenge - available now!
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DJ_Link
DJ_Link

Adventure Game Studio is from 2dboy????

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s_d
s_d

Nope. It's written by Chris Jones of the UK, who also runs "Adventure Game Studio" the company (promoting and maintaining the engine on his own time) as well as taking a leading role in running the AGS community as benevolent dictator. 2dboy has nothing to with it (WoG doesn't use AGS, in case it wasn't obvious!).

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