Submission product - Beta version

Like I mentioned on my previous post, the game is technically finished, the only things I'll be fixing after is probably touching up some sprites and animations, dialogue timing, music enhancement and camera angles. For the submission, I believe I've reached the requirements, which were a playable level with pixel art.
At this point I'm quite pleased with the quality and with the proficiency on which I feel I can use the engine now. Never the less, I am aware that there's a LOT of room for improvement, and certainly will carry on polishing it for the final year show and the Game Republics student showcase in Huddersfield.
If you want to have a go at it, here's the link to the online file:

Sanctuary (beta version) 

[if there's any obvious problems please refresh the browser. If it doesn't fix the problem, let me know. Also it was designed and mainly tested on Google Chrome, but as far as I'm aware, it should work on Firefox and Safari] (give my level some dignity and don't use Internet Explorer...please...) 

Because I realised that not many people might wan't to have a go at it or probably they get lost ... or just want to cross your arms, lay back, watch and judge my work then here's a screen recording of me playing the game (me knowing what to do). There are conversations with the characters outside the main main storyline, just in case people get lost, and also to give a bit of inside to the story and the characters.

Any feedback would be more than appreciated it, as I still have the end of year show and the Game Republic Student Showcase.

Idle sprites - from concept to pixel art

Although I know that having made fully rendered graphics for the entire game (ie choosing a resolution and drawing it all) would have been slightly more within my comfort zone, I was determined to for once, make an entire project on pixel art. After comming along with some of the main characters' concept art  that mainly where made as promotional art I started making the conversion into in-game graphics.

I knew I was going to make big sprites and stay away from 8 or 16 bit graphics as I wanted to portraid a nice amount of detail. 

The first character I wanted was obviously the main character Kamea, which pretty much has been used as a reference for the rest of the level. Because she's meant to be quite short, all the other characters would normally feel quite tall, therefore I had to think of a way for the sprites to look approachable (with some exceptions). 

From the concept art, Kamea kept quite a lot of features. Same happen with the nymphs Alba And Kera, but in the case of Teles and Azmer it was a total remake from the original concept image, mainly to fit the scene.

I've already talked about the animation for Kamea. She was clearly the most challenging one due to having motion. The rest of the characters only have an idle animation. I was literally make a breathing 2 frame animation, but challenged myself to a bit of extra motion, and managed to get something a bit more exciting in 6 frames for each character:

Alba and Kera

Azmer

 Edric

 Teles

. 

Must admit that pixel art animation is not easy, but I enjoyed animating Teles and the nymphs the most. 

I want to try more flames and liquids next time! :)

Sprite Animation

I've done some work before related to animation in games, yet it always amazes me how hard it is to get it to look right, specially when there are several quick actions the player must make. In this case I'm lucky that the level doesn't feature any complicated mechanics as this keeps the animations to the minimal, giving me more time to work on them and get some fluid movement.

At this point in time I'm already behind, therefore I don't have the luxury of animating every single aspect of the game, yet Kamea is obviously the character that will have most of my attention.

Ryan agreed from the beginning to help me out by comming out with some rough animations which I could the draw over and fit the sprite. This is the walking cycle he came up with:

Knowing tthe amount of work he's got with his own project, I didn't feel like asking him for any corrections or any othe cycles, therefore I opted to adventure myself on the animation process.

No matter how much I looked for video reference I couldn't find something that I felt right so I had to make my own reference (which will never see the daylight ever). 

The idle idea didn't require reference at all as it was just a simple breathing movement, eye blinking, ear moving and perhaps a bit of exaggeration on the movement of the hair, mainly to accentuate the idle animation.

The runnin was a challenge as it was a 10 frame animation with all different frames. The character is not fully on side view as I keep this cartoony feeling of 'always looking at the camera' and that made the refencing a bit difficult. I managed with the front arm to give a bit of depth feeling, but I failed to do the same with the hair. I was quite pleased with the outcome for this running cycle as I tend to always get it weird looking, specially when it's a run that loops endlessly.

For the jump and fall I thought about making a proper animation that included a bit of anticipation, but no matter how I wanted it to fit it in, it will always look weird as the fluidity of the character in play doesn't include that small pause needed. At the end I decided to stick with only two frames for the jump (because of the determined hight that she can jump) and 3 for the fall (in case the player falls from a higher place).

Hopefully I'll have enough time to fit in a climbing animation, other wise I'll have to re adapt the level with some platforms instead of climbing ropes. 

As for the rest of the NPCs I'll only stick with a very very VERY basic idle, just to make them stick out as interactive characters, but if I have more time to before the Game Republics student showreel then I'll probably add some extra frames.

Meet: Alba & Kera

Alba and Kera are the two nymphs that lie in the far end of the conservatory. Alba (orange skin) is possess the power of dawn while Kera the power of dusk. Never meet each other while being free, yet once they where captured and locked up in a cell, secluded from the rest, they found out that they where in perfect sync, both body movements and thoughts. Their individual powers are unknown, but definitely strong. They've never convinced forces before, yet they can sense that it can be a powerful weapon. They rely on their voices to cast their powers with words, yet the collars implanted by 'him' prevent them from making any incantation. The cage itself also helps to keep their powers under control. The flame over their heads represents their power and emotions, yet it can't actually make anything caught fire. Ever since they've been there, they have become the main adoration of 'him' and he's been the only one that has come in contact with them. The backstory of the nymphs is unknown. 

Alba and Kera where the must fun and sexy to come up with. There where so many ideas that came to my mind, from plant like humanoids to bird-like creatures. I wanted to avoid an elf look and also a ying yang concept. They're still representing opposite entities, but at least I managed to balance it out with some colour and features like the horns. Most of the features where inspired in biblical images with the halo and the flames, yet I added some horns to Alba (but doesn't mean she's evil). Being nymphs, I couldn't come up with clothing for them, as they represent free natural spirits, so I added a massive amount of hair (although they might still be quite...  provocative). I wanted to keep them secluded from the rest of the characters; by not having much interaction with the players in the level I made them into a special characters (you can only access them near the end). Enjoyed playing with loads of colours, specially on their eyes. Hope their (almost) nudity won't create any kind of trouble...

Meet: Edric

Edric is a british dragon with an incredible amount of power. The only way to seal his power was with the power of a magic sword that pierces his mouth. His not the smartest creature out there, and he's not good with words, but normally he's a docile and noble creature. He's the first one to come in contact with Kamea, and luckily for him, she doesn't miss judge him based on his looks. He manages to encourage Kamea to explore around while hoping to free himself and get revenge on the one that got him captive. 

His initial design was always a big creature in relation with the rest of the characters, I probably never got to a point where I came up with the entire design of the body as I knew for this level only a small part was going to be shown. The idea of him being nice and docile was always appealing, trying to break the idea of judging character by how they look. Normally he would be put as a cold beast fighting against the 'good guys'. I tried to go for different colours like blue, green and black, but ended up going back to a more 'classic' red colour and with scales. Made the blood blue to make a high contrast and make it look like he's constantly bleeding as he tries constantly to escape. He's one of my favourite characters, as I can imagine him being like a big body guard for Kamea. Happy with the end design, shame I didn't have the time to draw the rest of his body. 

Meet: Azmer

Azmer is a snow Wemic (half lion, half human). He possess a good balance between strength, wisdom and ability. He was leader of the group that protected the pride. Being a rare type of Wemics, they started being hunted by witches trying to get hold of their rare fur. While trying to defend the pride from an attack, he sacrificed himself in order for the rest of them to scape. His loyalty to the pride is what has kept him locked up in a tiny cell ever since as he refuses to give away their location and fights back at any chance he gets. 

Azmer was definitely the most difficult character to come up with. I knew from the beginning that I wanted to make him as 'manly' as possible, but it's something I'm not entirely used to draw. The initial idea was to make a centaur, then a half human, half bull, but I was never entirely pleased with it. To this point I think there are a lot of thing I could have change to the final design. Muscles and middle aged people is something I need to practice a lot more. I also had to use some reference for the lion part of the body. Should also have played more with the colour scheme, but I wanted to make something completely opposite to what Teles is. No doubt that this is the character that I feel less proud of the outcome. :(   (practice practice practice) 

Branding - logo for everything

Something that I always tend to do is branding my ideas; give them logo, themes and anything that can help making it feel like a unified project. 

In the case of Sanctuary I tried to embraced the art nouveau/ Victorian style as much as possible, by keeping detail and lively colours. Of course this theme is subjective and didn't stick to the rules of any style, but that's mainly to give it a twist of my own creation. 

For the logo at fist I wanted to make something quite stylish, and went all the way with the idea that I liked the most: 

I knew it was saturated, but I think I thought about it far too much to the little flaw on it's creation: it's unreadable! 

People who looked at it just couldn't work it out at first, so what's the point of a logo if it's not easy to recognise. At this point I decided to stop working on it and get rid of it. 

In the mean time I also created little logos for the characters, maybe a bit unnecessary, but I could't help myself. 

I wanted to use iconic imagery from what the mythical creatures behind their creation represent. Kamea has a Unicorn, Edric a medieval dragon. I used a lion for Azmer as Wemics are not common part of mythology. For Teles I didn't wanted to use a mermaid as it would drive people to think he was a girl, instead I used a jewel in the shape of a water drop, to represent a bit of the royalty in his family line. Alba and Kera where the difficult ones; nymphs don't have a representation other than nature so my first thought was flowers, then I thought about the sun and the moon, but I decided to put them as birds, mainly because I didn't wanted to give away the idea of  the source of their powers straight away. 

I didn't really spent much time on these, so I know they could have done with a lot more work, but it was just to have them printed with their names on. 

 After a bit I came back to remake the logo into one of the ideas I had from the beginning. It's more simple and it doesn't have any fancy shapes. Because it was just the word, I wanted to work more on it than just keep it in simple colours. At the end I tried to make it look like a fairy tale book cover by simulating gold and leather in the background. Not sure if I did it right, but at some point before adding more details I thought about it having to be in pixel art as well, therefore I stop to avoid making my life more difficult.

Dialogue script

I knew from the beginning that I didn't have the time to achieve some kind of combat inside the level and keep the metroidvania/rpg/exploration at the same time. Keeping my usual tendency for going for flightless games, I opted to make it more narrative driver, or at least this level. If the game was to go further, I would love to add a combat mechanic, magic spells and power upgrades, but mainly because of the time it takes to make animation sprites, this level will be a small narrative quest.

When I was creating the main NPC and the main character I was picturing their voices and the kind of personalities they would have. They all have very unique characteristic and just like the main character, they have they're own unique qualities and defects. 

It's going to be hard tour triad them on a single sprite and on just one level; they're animation will be very basic due to time constrains so reflecting their personalities on a berthing idle-2/3 frame sprite is nearly impossible.

So, knowing that the dialogue would represent a crucial part to portraid a bit of the personalities, I didn't wanted the NPCs to be saying the same frase all the time so I decided to make a little script to have them saying a different conversation depending on where they are in the level. 

Because I couldn't get the text speed control via pressing a button, it will all have to be timed, so whe the player speaks to a character a bit of a mini event will take place and the conversation between Keara and the NPC will start.

I made my script in excel, as I thought I could organise them in cells per speech bubble and depending on the length I could time it more accurately and quickly.

Now I've never done any dialogue script, so I must admit I felt a bit silly by picturing different voices in my head and try to type it down. Hoping to avoid overly cliche frames and awful misspellings, I asked my friend Sarah for some assistance. She has her own manga project so I assumed she would be familiar with script making.

So far her corrections have been pretty helpful, but I can't add the text until I'm happy with the overall mechanics, otherwise testing will take up a lot more time.

Music ideas

Adam Fergler was kind enough to help me once again with the creation do a melody for the background of my game.

I've never been good to choose myself a soundtrack or even sound effects, but I do appreciate the importance of them.

I know Adam is busy with his own projects, therefore I never thought about anything different to a single simple melody looping in the background. 

After the first few days of talking about what kind of mood I was looking for the game, what the story was, the game play and the main characters personality, he started coming up with ideas of what could be done.

Because at this point I barely touched any sound related topics for the engine, I didn't know what restrictions I would encounter. My original IDE was to have a tune per stage of courage and simply fade in and out between them. 

After trying for a bit I couldn't find a way to make a smooth transitions and having sudden changes of music was not a good idea.

After some talking and considerations we came up with more practical ideas to represent Kamea's courage increase that in this level's case it increases 3 times plus the initial state:

A) have a the same melody 4 times with the exact timing, but with more and more instruments on each level. The idea was to have them all runnin at the same time in the background on mute and just turn the volume up after each courage checkpoint was reached. This created a kind of layering and would avoid an abrupt change of music.

B) have smaller melodies that sound good looping but that the ending of one is the beginning of the next one. With this method, we expected to be able to loop one until a courage point was reache, stop the looping and once the song is finish switch to the next one which then would loop until the next courage point is reach, and so on. 

I decided to make quick and rough testing playable levels to see if they would actually work. It turns out that the 'coding' behind it was pretty simple and managed to get both ideas to work.

Here's idea A and idea B

(Note that A doesn't line up properly, but that's because one song starts slightly later than the other, but the concept is there).
(Also! just noticed that you sometimes have to refresh at least once the browser window to get the audio working properly!) 

I think the easies way for Adam was to go for option B. He said he had more than one idea that he was already working on, more like Kamea's theme song! 

Maybe that melody will be used for the titles screen :D 

Really looking forward to hear more of it.

Sanctuary - test 2

So I finally came around to make a second test to show for a presentation.
This still keeps the original layout as there's no point to expand the level while testing (the smaller, the faster to test). I also haven't tried some of the sprites, mainly because I've been busy trying to sort out the gameplay itself. Probably in that respect it will be hard to notice the huge amount of improvements compared to the first test.

Click HERE to try the second test version.

Keyboard Controls :
A - left
D - right
Spacebar- Jump
S- jump down
W - talk/open door/pick up stuff/climb (interact is a better word) 

Things might be confusing at this point still, but the idea is to talk to both of the NPCs to be able to access the room inside the tree. The final text will be slower and the dialogue will give hints to what the player should do.
But leaving the story aside (that will be arranged in time) the mayor advances in this version would be:
- Global constants working along with the phasing of the story.
- Camera movement moves responding to the character's movement (still needs tweaking).
- Zoom in and out depending on players movement.
- Die and re-spam if falling of the 'level'
- Inside tree layout.
- Dialogue appearance.
- Initial Xbox controller compatibility (yes, you can play it with a controller or keyboard) 


There are still far too many problems that need fixing, to list a few:
-Fix camera movement
-Incorporate initial and final cinematic events (need to figure out how to do that :-/ )
-Avoid dialogue boxes to overlap
-Fix characters sprite movement (specially with the xbox controller)
-Set a menu screen
-by miracle... hope to figure out how to control text speed and appearance by pressing keys, instead of having it timed.

There are still loads and loads of things that need fixing, but it's certainly time to speed up with the sprites; any future testing might seem with less improvements as I'll have to balance more between the 'coding' and assets' creation.
Any feedback would be appreciated.

Some pixel art process

In my previous post I mentioned a blog that had a compilation of some 'rules' with regards the creation of pixel art. 

The type of pixel sprites that I'll be doing for the game are relatively big, and the level of detail is high in comparison to initial pixel art where characters could have a 24x24 sprite (like the old megaman games) to a more detailed 150 pixel sprite. 

I've documented the initial part of the process of the creation of the sprites of one of the elements that I like the most: the fountain of the Harpy.

The idea started as a sketch where I added some watercolour, but this was just to give me an idea (and play with watercolours for a bit). I scanned it and modify the background, mainly just to make it easy to work with. 

Then I made it semi transparent and using the pencil tool and preferences that will help me to keep hard edges in case of any movement or modification. I start with a very loose line, mainly just following the contour, as if I was to redo the line work. 

After all that is finished then I can turn off the reference and go into detail to fix the line. The image below is the outcome of a quick line. 

The image below is the how it looks after cleaning up, the idea is to avoid having any overlapping pixels. This will give an effect from further as a clean curvy line. This could be one of the processes that take the longer as is a matter of individually erasing and painting pixels all over the line. At the same time, you need to be zooming in and out to make sure the line is taking the shape desired, as is very easy to get it to look wonky...and in fact sometimes is just hard to correct and can only be corrected once the rest of the solid colour is along. 

This is the difference between the quick first line and the final clean up. This 'rule' wont apply everywhere as the hand that's suppose to be closer I decided to make its line thicker mainly to use a comic like technique of line weight. 

After that I started blocking out colour and shadows, which roughly follows the idea of cellshading with hard edges on the change of each colour/ shadow, this is mainly to give a sharp contrast and help the perception of the shape. In this case the statue is some sort of plaster material with its own shadows, while it will be cover with mould due to the dampness. Eventually I'll add the water falling down. This process is not finished as the shading requires just as much work as the line work. Also the main line will have colour and will nicely blend along with the rest of the colours. This kind of big landmarks on the level need to be very detailed, in comparison to the rest of the props, so I'll keep posting some of the further finished props as I go. 

Sanctuary's UI and menus

So all the level planning is pretty much set, all I need to do is start working on the creation of assets to start putting things together. 

Something that I haven't thought much about was the possibility of having a start menu, mainly to give it an introduction and wrap the project up with a more game-like product. At this point all I can think of putting is a 'Press ___ to start' as there wont be any 'New Game' / 'Continue' feature. Because is a self contained level without any current plan of expanding it, there's no point of involving a saving game system nor even putting a pause function as there's no time limitation to complete it. 

I might use that initial screen to add some buttons that can lead to either my website or twitter as a way for people to contact me, also put the logo and my name. Use it as an introduction more than anything. 

Inside the game, I've been missing the idea of implementing any UI (User Interface) as at this point I'm ruling out the idea of having any fighting therefore a health or magic bar is useless. Saying that, I think I want to use the concept of Keara being timid to add a Brave bar which in reality would only measure the progress of the game; this would be reflecting the character getting the courage to scape the level. I think this would help to the understanding of the character and slightly increase the immersiveness. 

Also to add some sort of decoration I've made a 'frame' that goes around the edges of the screen. any bar or dialogue would be embedded around this edges to unify the UI. So far this is only a test. This frame will follow the camera, so it will always maintain the same position. At the moment I'm trying to implement some sort of camera movement that will zoom in and out depending on the character's movement, so hopefully that doesn't get in the way of this UI. 

When I look at some examples of games in respect of their UI, I can see some very simplistic involving some basic information, other (like some RPGs) have a huge range of boxes, icons and menus hanging all around the screen. I suppose my project don't involve much at the moment, and I definitely don't want to add stuff that's not needed, yet I want to emulate the look of a professional game in as many aspects as I can. 

I've found this artist called Sue Hatfield that on her portfolio she has some very nice user interface that include some sort of decoration. I really don't want to make anything too distracting or that takes up too much space on the screen (maybe I'll even reduce the frame I have), but I would like something that adds some decorative value to the screen. 

Dialog construction - script

After I started using Construct 2, I slowly managed to get my head around the type of 'coding' or logic behind it. When I think about it, it's a very logic way to make everything work, and at the same time, there's a lot of room to miss something along the way that won't make things work properly. 

Something that I roughly managed to get working is the dialog, which instead of being scripted so that the player has control of the speed of the text (by pressing 'x or y' button) it will be timed. So when the player enters in contact with the NPC collision and presses a button, the character will stop moving and the timed dialogs will appear as speech bubbles. 

The dialog will be subjected to a global conditional, which I might represent as with a graphic bar as bravery that will be filling up depending on the 'confidence' of the main character Kamea. This will make an emphasis on the insecurities the main character has enhancing the character development. This global conditional will be increasing as she speaks with the right NPCs in the right order, and in the mean time the text will seem varied and less repetitive. 

Another feature will be the idea of Kamea having several thoughts throughout the progress of the game, this again to get the player to understand the character a bit more. 

The dialog creation is something that goes way beyond what I thought I would be doing. Dialog writing surely requires a lot more talent that what I expected. So far I've written most of it, yet I can't help to feel that the dialogs might sound cliché when someone else reads it, not to mention either silly, long or hard to understand. To avoid looking silly in case I make a grammatical mistake, my friend Sarah is willing to help me proof reading it. She has a lot more experience on this as she works as a media consultant and also works on a comic as a personal side project.  

Hopefully I can have the proper text working on the game soon, the only reason why I haven't implemented it is for testing reasons, as I need dialogs to be short and quick so that it doesn't take me long every timeI'm testing any modification I make. 

Colour test: pallet

 I finally got some time to start working on the colour side of the sprite. The previous post was a test for size and it was mainly an outline and proportions of the final sprite.
I limited myself to a pallet of about 38 colours. I was originally just use no limitation, but then I thought that might be a challenge when it comes to the colouring of each frame of animation. Plus this way it looks a lot cleaner.
On the image below I have the pallet along with the 100% sprite size, a 500% version and a comparison with the concept art. Since the final artwork will look roughly the same size as the 500% one, I'm pretty happy that with the results (got scared when I saw the 100% result).
Next step before polishing the sprite is to test it on the engine. Hopefully I'll start working on other props or NPC's to try them for the next demo.

Tips for anyone that wants to try to do pixel art on photoshop: turn off any anti-alias and change preferences of interpolation (Edit/preferences/general) from bicubic/bilinear to nearest neighbour. This will help to get the pixel finish without photoshop trying to blend colours in between.

Starting to get 'pixely'

Today I decided to start giving it a go to what the in-game sprite artwork is going to look like, before I carry on making complicated NPCs full of detail and colour.
Obviously I wanted to test Keara first as is the main character and she will have pretty much most of the animations.
This is just a quick test of her with a pixel line, although the final sprite will feel less linebase and the pixels more blended. The hight I'm happy with is 167px aprox., mainly because the animation of the hair might vary the over all hight.
Also today I spoke to Ryan and the process of the animation will begin. He will be helping me to get a rough animation mainly for the running/jogging animation. I couldn't resist to make a quick test for the idle, which clearly needs a lot of work, but I think is a progress overall. The main movement will happen on the hair, second by the dress. Luckily the hair won't have as much detail as in the full rendered version, as hair is not one of my strong points to draw. Later on I'll start making some test with the colours applied on pixels.

Meet: Teles

Teles is a rare male siren specimen, despite de believe that they're only females. He comes from a nordic species, and in difference with regular mermaids, he posses two tails (like legs) instead of just one. He's capable to breath under and over water, but he does require constant moist for his skin to survive. His colours resemble a a japanese carp fish with bright oranges and white spots. He's often mistaken by a girl because of his fragile appearance. He was raised in a life of comfort as he was one of the few males born, therefore he was treated like royalty in his tribe.
His attitude can be a bit pedantic and childish at times, yet he tends to manage to see what people are like inside very easily. He's never had the need to do much in life, therefore he doesn't have many abilities that can help him scape. He comes from a very reserved and hostile tribe that are not very open to new ideas and traditions. This is probably his biggest frustration as he's grown with this feeling of restriction , explaining a lot of his grumpy personality. He never learned any self defence as he thought he'd never leave his tribe, so now he's stuck to what others can do for him to scape the conservatory. People in his tribe usually typically uses traditional tridents as a weapon along with their water affinities, yet he finds no desire on picking such a heavy weapon. His arms and vocal cords are sealed with magic by those ornaments, yet they don't posses much power as he's been limited to stay by the fountain.

In respect to his design, I knew from the beginning that I wanted to make him like a little prince. I got mixed feelings with his design, as some people though he was too feminine and slightly repulsive. I wanted to keep the feminine touch and gave a mix sexuality identity (hermaphrodite). Once again with the colours, I wanted to stay away from the norm (green/blue for underwater people) and still keep that colourful aspect of a fish. Also his names comes from latin american roots that mean siren, and decided to give him that name despite it being meant to be for girls. 

Meet: Kamea

Kamea is the protagonist of Sanctuary.   (\k(a)-mea\  is pronounced ka-MAY-ah). The name has Hawaiian origin which mean 'the one and only'. Just like the name suggests, she's the last one of her kind. The inspiration came from my sister and her obsession liking of unicorns, and it spins around the concept of the story called 'the Last Uniconrn'. In this case the unicorn has a more human like form, but still keeping the horn (obviously). Her tribe used to be a very passive yet powerful one; always in tune with nature and in favour of controlling wind powers.
She's 16 at the time story starts, and not so long ago she found herself running and hiding with a few other remaining members of her clan. The numbers on her clan began to decrease once the value of their horns began to raise on the black market, under the false idea that it granted eternal life.

She's a very kind person, but she's shadowed by a bunch of insecurities and complexes created after years of prosecution and  living in fear. She doubts her abilities and questions every step she takes. Tasks like taking decisions are always a big challenge for her, and she always put others in front of her own needs.

Because she spent her last few years running away, she never completed her training and her skills are far basic, compared to what the capabilities of her tribe can achieve.
Now that she's the only one left alive, she will have to fend for herself and maybe master the techniques on her own.

In respect of her design, I wanted to reflect some of my sister's qualities like the hair, height and skin colour and mix it up with loads of fantasy features. The initial concepts that I made at the beginning where helpful to ask people what their opinion was about the designs and curiously most people ended up liking the ones I based on my sis (4 and 5). Colour wise, I didn't wanted to restrict myself to a simple pallet as I was everything to be full of colour, although in the final pixel art the gradients might be a bit shaper. the golden handcuffs and the collar where placed by the magician to suppress her power, although he ignored to put a constrain in her horn (maybe he didn't see it?). I ended up playing with shadows and transformed them into crazy purple/pink light, just to play around with colours. She's got very small feet and is always walking on her toes; from far away it looks like she's got hooves.

About her personality, I didn't wanted to make her the typical 'I can do it' type of heroine nor the clumsy and funny one. Having my own insecurities, I wanted to explore and create a game that not only spins around the 'goal' of the game itself, but that evolves around a psychologically complex character and how this character would react to all the situations around. On this first level it only involves the main idea of her having to communicate to strangers (which is one of my worst enemies) and finding the courage to embark on a new adventure by getting her and the others our of there. Will she be able to make it?

More characters to come soon...