Posted by on September 25th, 2013

Art Changes:
-Added aspen trees with normal maps and color variations
-Added joshua trees
-Added normal map support for objects sharing UV space
-Fixed texture seams on various objects
-Changed rock texture
-New palmtree textures
-Added shadows and shadow opacity to pine tree, aspen tree, joshua trees, snowy pine tree
-Updates to rock height to fix issues with biomes

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Posted by on September 10th, 2013

fyeahtheuntitledgame:

Check out the “New Site Coming Soon!” thread by Nekochu. Discussing topics like the new website, forum changes, migrating and adjusting.
Also, a deadline.

Edit!: You do have to make a new account for the forums.

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Posted by on September 5th, 2013

Game Objects screenshot contest!

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Posted by on August 30th, 2013

Cut at the Zero: Diggin’

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Posted by on August 29th, 2013

8/29 Patch Update

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Posted by on August 28th, 2013

petedupon:

For each type of texture in TUG, there are two distinct sounds associated.  One sound for breaking the block, and one for placing it.  Creating sounds for each required a lot of cutting, some fiddling around, and a surprising amount of manual labor on my part.

I started with the element itself.  Stone, wood, dirt, what have you.  I pulled together a smattering of existing sound effects and cut them down to almost microscopic segments before beginning to recombine them.  But after some experimentation, I ended up heading out to the local park and doing some field recordings to really flesh out the sound I wanted.  There had been a pile of discarded stone sidewalk tiles outside my apartment building, so I snagged a few a took them with me.  What followed was a few hours of smashing rocks, sticks, and sections of my body into the dirt, grass, and any other surface I could find.  From there I came back and started to really form the audio you hear in the Alpha.  

With these two types of sounds, I wanted very distinct impacts.  When you break a block I wanted the sound to feel empowering, while I wanted the placement sound to feel very satisfying and impactful.  I accomplished this by controlling the inflection of the pitch across the sound, despite them being incredibly short.  So I cut segments of the sounds that had an upward inflection and used them in the break (before allowing them to tail off with some debris sounds), and used the more final-sounding downward inflections on the placement sounds.  

This leaves the placement with a feeling of rise and fall, much like the path your arm would take during a swing, and the sound of debris gives a real sense of accomplishment.  The placement sounds, however, are almost entirely resolution, which makes them feel finite and powerful.

Underneath those basic elements, I incorporated the same muffled timpani sounds that are in the footsteps to bring in a musical side.  The notes under the placement sounds are lower in pitch and less varied, giving them a very driving feel, musically.  The notes under the breaking sounds are a little higher, and have a more “whistle-while-you-work” type vibe to them.  This should help make the work of breaking and collecting resources feel a little more upbeat, while the placement of blocks should feel a little more zen and focused.

After that I just duplicated the process across what felt like a billion different surfaces!  Seriously…we got a lotta surfaces.

image

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