Recalculating

These “<noun> <verb> the level” themes are brutal. We’re doing a little course correcting this week. The platforming segment of Beat Drop still isn’t feeling any better so we’re cutting the unimplemented rhythm segment. With limited time and resources it doesn’t make sense to split our focus on two types of gameplay until we really nail down the first.

A number of things were working against the original design. Foremost was the layered music approach. Your first encounter with any piece of music in the game is just the bass and drum tracks. Not a great first impression. Additionally the music’s impact on the level was hard to spot. The tempo of the music determined the rate at which the platforms underfoot undulated. Just syncing visuals to music in Flash is challenge because of the lack of interval precision at even 120bpm. Finally, the introduction of a shooting mechanic undermines the primary goal of collecting records.

Of the new drop types added last week (the melting sun, blowing tornado, destructive anvil, and intercepting UFO), the only keeper was Wub-Wub. Controlling both Oontz and his canine companion at the same time introduced some interesting layers to the collection mechanic. The ability to tell your dog (or your dog’s human) to “Stay!” while you continue to move around should make it even more interesting.

We’re also changing the way we integrate music. The level will react to changes in the music. Platforms will change size and position corresponding with different sections of music. Music is being written modularly so we can ultimately randomize the internal sequence of each track which will in turn randomize the level designs.

As a result of the new direction, the narrative has shifted as well. Our protagonist is now a Professor of Archaeology who moonlights as a DJ and, on weekends, raids ruins in search of the records of the ancients. His excursions are haunted by snakes, natives, and the source of all music, The Playhead.

Why’d it have to be snakes?