Grapplers: Relic Rivals – Steam Announcement!

After quite a few months of getting the art updated and pouring over tons of design details, I’m elated to announce that the Steam page for Grapplers: Relic Rivals is now live!

https://store.steampowered.com/app/2906890/Grapplers_Relic_Rivals

You have no idea how much simply wishlisting the game can help! Grapplers: Relic Rivals will be releasing on Steam in summer 2024!

Ally Productions is Looking for a Pixel Art Generalist (Paid Contract)

Current position status: CLOSED

The Position

Ally Productions is looking for a 2D pixel art generalist for a short term, paid contract for Grapplers: Relic Rivals, my upcoming 2D PVP platformer with grappling hooks. All art in the game is currently temp, so your job would be updating the existing art with Real Art™, and creating new art for anything new that gets made.

The ideal candidate would meet all of these criteria, but I’m open to any interested candidate:

  • You can create beautiful 2D pixel art (eg, Celeste, Terraria, Stardew Valley, Megaman X, TowerFall Ascension).
  • You are versed in multiple kinds of art. In order of importance: Characters, environment tilesets and backgrounds, animation, UI, Steam page assets, minor VFX, maybe social media banners.
  • You know how to keep communication lines open and are not be afraid to get clarification on details. Communication is very important to me.

I’m hoping to have the game done by ~May 1, 2024, but I encourage you to reach out even if the timeline doesn’t quite fit and we can talk things out. That said, this is a small project, so while quality is still important, I’m focused on speed first.

About Grapplers: Relic Rivals

Grapplers: Relic Rivals is a 2D PVP platformer with grappling hooks, similar to Smash Bros (With a single character type) or TowerFall: Ascension. The game is currently at alpha, meaning all of the main mechanics should be more or less represented even if they’re buggy or more content needs to be created for them (eg, more levels). For more info:

  • Download and play the Alpha Build.
  • Check out my devlogs.
  • Email me with questions (See info below).

About Ally Productions

Ally Productions is currently just me, Paul Kankiewicz (he/him), but I’ll soon be adding an artist and sound designer to my team. I released Open Ocean in 2019, which is an extremely small game with a powerful environmental message. I’m currently working on Grapplers: Relic Rivals.

For more info about me, check out my About Me page.

How To Apply

EDIT: This positions is now closed.

Interested in this position? Email [email protected] with your name, a brief introduction, and a link to your portfolio and let’s talk! Please use the subject line “Grapplers: Relic Rivals Artist Application” to ensure your portfolio gets looked at.

Grapplers: Relic Rivals – Alpha Playtest Build!

After a few months of hard work, Grapplers: Relic Rivals is ready for an alpha playtest! The alpha build can be downloaded on itch.io here. I also created a survey to gather playtest feedback. If you play the game, I’d appreciate you letting me know what you think – Good, bad, or otherwise.

Keep in mind the game is currently at alpha, so the art and audio are currently temp and the game is still under development, but all the main mechanics should be more or less represented, even if they’re buggy or more content needs to be created for them (eg, levels).

If you’d like to stay up to date on the project, you can check out my devlogs here.

Untitled PVP Grapple Game – First Playable Playtest Build!

Work on my indie game – a 2D PVP platformer with grappling hooks – has been going extremely well lately! So well, in fact, that I’m ready to invite people to playtest the first playable build! Much of the game is still being stood up, so the gameplay is a little bare-bones, but I find it’s important to get feedback early and often. There’s enough of the game that’s been built now that it’s time to hear what others have to say about it!

The build can be downloaded on itch.io here. I also created a survey to gather playtest feedback.

In addition to working on the game, I’ve been creating devlogs to showcase my weekly progress. If you’d like to check them out, you can find those here.

Random Generation Done Right

Diablo 2 will forever be one of my favorite games. There are many aspects of the game that they just got right – Itemization, skill synergies, and the variety of monsters (Including affixes), to name a few. But one of the best things about it was its randomly generated maps. The ever-changing landscape kept the game feeling fresh even after thousands of hours.

Fast forward 23 (!) years: I played a lot of Diablo 4 at and around launch, and while I really loved the variety of builds and the constant drip of progression (Skill tiers, class skills, paragon boards, legendary affixes, etc), one of the areas I thought fell short was the random generation of their dungeons. Here are some examples of randomly generated dungeon layouts in Diablo 4:

These aren’t inherently bad, but something that really stands out is that the grid is extremely visible, something designers should aim to eliminate in today’s age of random generation. The loops and chunks used to generated the levels are also obvious, leading to players easily noticing repeats.

So how can we make this better? Sometime around 2020, I worked on randomly generated “dungeons” in a AAA 3D action game. While doing so, I did a lot of research into how various games randomly generate dungeons and mocked up some 2D prototypes of what the randomly generated spaces could look like using GameMaker. My first iteration looked something like this:

(Ignore the red circle – That was just showing that some chunks aren’t connected to the rest of the dungeon. Remember, this was just a prototype to prove out an idea, so it didn’t need to be perfect).

Okay, so that attempt wasn’t great. The grid is obvious, and since chunks are just rotated, repeated chunks are extremely easy to spot even in a small 4×4 dungeon like this. But making games (And prototypes) is an iterative process. Let’s see if we can do better! Here’s the second iteration:

All right, that’s a little better, but it still has some of the issues mentioned above. The grid is still extremely obvious. But repeated chunks are a bit harder to spot due to the addition of black circles randomly within each chunk. In the final game, you could imagine these being any sort of blocker to break up the space a little differently, even when the same chunk is used – Boulders, pillars, statues, holes, quicksand, trees, etc. I call things like this “axes of randomness” – The more ways in which we can make an experience random, the harder it will be for players to notice repeated content. See below for more examples.

So we’ve made some progress, but let’s see if we can do even better! Here’s the final iteration of the prototype:

Looks pretty good, right? Using more organic-looking chunks, I was able to mask the fact that the chunks are placed on a grid. The random rotations and the randomized black circles help hide the fact that there are repeated chunks, even in a 7×7 grid like this and using just 20 unique chunks. At this point, we decided the idea was worth pursuing in the real game, so I got to work building the real thing, but here are some more improvements that could have been made to these maps and the actual spaces within the game:

  • Create more unique chunks used to generate the spaces. This only used 20 unique chunks, so we were guaranteed duplicates in a 7×7 dungeon like the prototype.
  • Make sure that the same chunk never appears in the same dungeon with the same rotation (Or maybe at all, if you have enough unique chunks).
  • Clean up the randomized circles so they’re placed in better areas, as opposed to randomly.
    • For example, we could use them to block off paths so traversal through the space was different even when the same chunk is used.
  • Add additional axes of randomness to mask the times when the player sees the same chunk.
    • Randomize enemy placements, types, and number within each chunk.
    • Randomize the textures that each dungeon (Or chunk) uses.
    • Randomize environmental effects – Fog, lighting, weather, spores, dripping water, etc. within each chunk (Or in the dungeon as a whole).
    • Randomize puzzle placement and type within each chunk.
    • Randomize trap placement and type within each chunk.
  • Block off exits that don’t lead anywhere with rocks (ie, a cave in), vines, walls, magic barriers (Like in Gunfire Reborn), etc.
  • This would be a bit more expensive, but when connecting these in 3D, you could use non-axis-aligned rotations and simply connect the entrances using something like sockets, allowing you to rotate these chunks at “any” arbitrary angle and escaping from the grid entirely.

In case you’re curious, here are the 20 unique chunks used in the final version:

Fun fact: The “dual entrance” design was inspired by Castles of Mad King Ludwig, a board game recommended by my lead when I started these prototypes.

Now, these are all just prototypes, but the bones of the design are definitely present, and turning this into a finished product is totally doable. Going back to Diablo 4, it’s not that Blizzard did a terrible job with their randomly generated dungeons – They’re fine enough and get the job done, and certain dungeons definitely have a different feel to them (I particularly enjoyed the Flooded Depths). My main gripe is that their dungeon maps are obviously gridded and have the tell-tale signs of being randomly generated, which I never really noticed in Diablo 2, a game the same company made over 20 years ago! Nowadays, with a little work we can do wonders to hide these things from players, making the dungeons feel much more organic and realistic. The Diablo series used to be at the forefront of random generation, so it’s a bit sad to see Diablo 4 fall a bit flat in that area.

My New Adventure

After much deliberation, I decided to leave my job at BioWare to try my hand at indie game development, which has always been a dream of mine. While I have no delusions that going indie poses its own challenges, I’m extremely excited to take creative control into my own hands and to be able to make the decisions I feel will lead to the best game. The change in scale of the games I’ll be making warrants a change to my current quest:

New quest: Ship an indie game on Steam with Very Positive reviews.

Be sure to keep an eye out on this space for future updates!

Hogwarts Legacy Launch

I’m a tad late in writing this post, but Hogwarts Legacy has launched! I worked on the game for roughly a year very early in development. I worked remotely with folks at Avalanche Software on side missions, and helped them develop some of their mission tech and structure. I was also very fortunate to get some training and experience in Unreal Engine for the first time ever. The game was incredibly ambitious and had many difficult challenges to overcome, but it’s incredibly exciting to see the game launch, especially with all the praise it’s been getting! At the time of this writing, Hogwarts Legacy has an 84 Metacritic score.

What Makes a Good Quest Designer?

I was recently asked the question, “What makes a good quest designer?” I’ve got a lot of experience in quest design, but I had never sat down and actually thought about what skills or traits made me good at what I do. After thinking about it for a bit, I came up with an answer: Communication, creativity, and the ability to be receptive to feedback.

Quest designers are the multidisciplinary focal point of the team, so being able to concisely and accurately communicate the design vision to others, especially to people working in different disciplines, is extremely important. Without good communication skills, a designer could have an amazing design in their head, but the rest of the team would likely be working on an entirely different vision of the game, causing the experience to not feel cohesive. Games are made by large teams of people, and being able to effectively communicate the vision of the game is often the difference between making a unified experience and having an amalgamation of various parts that don’t fit together.

Most of a quest designer’s job is to provide new and exciting opportunities to the player, which is where creativity comes in. Creative designers will come up with innovative new ideas that players haven’t even dreamed about. Having a creative mind also allows them to breathe new life into old concepts, making them feel fresh and novel again. In addition to the content they make, creativity can help designers come up with different workflows or ways to solve technical problems that less creative people would just accept as the way things are.

Designers are constantly bombarded with feedback from all sides – Leads, other designers, team members from other disciplines, playtesters, or even the community. It’s easy to be overwhelmed or to take feedback personally, but a good designer knows to accept even negative feedback as a positive thing, as it’s a way to strengthen the design. Additionally, knowing which pieces of feedback to act on and which ones to disregard is an extremely valuable skill for a designer. Sometimes this means not listening to the vocal minority, especially when a game has a huge online community. As an example, players might say that a certain attack is underpowered, but maybe it’s mathematically balanced and simply needs to feel more powerful with added visual or sound effects.

So there you have it, the three traits that make a good quest designer. Focus on communication, creativity, and receiving feedback and you’ll have a solid foundation for any quest design role.

Overwatch Montage Videos

For the past year or two, some I’ve been playing quite a bit of Overwatch with friends of mine. While doing so, I’ve been utilizing the Highlights feature quite a bit, which, after thinking about it, is an extremely smart feature to get people to create content to promote the game. I decided to try my hand at creating a few montages using highlights from the past year or so – Check them out!

Lucky Shots

Fail of the Game Montage

Play of the Game Montage

Creativity Tips

A few months ago, a friend asked me for tips on being creative. We ended up talking for a few hours about the whole creative process from start to finish, and some of the ideas that we bounced back and forth were great tidbits of information that I hadn’t really thought too much about before. After reflecting on what we had talked about, I thought other people might benefit from our conversation. So without further ado, here are some tips on how to be creative, and for the creative process in general.

Everything’s Been Done Before

First and foremost, it’s very important to realize that 95% of creative ideas have already been done before in some form or another. This should be a liberating thought, not a debilitating one! Ideas aren’t created from the void, they’re formed by combining other, already existing ideas in new ways (More on that later). Don’t stress about things like “this has already been done before” – Whatever you make will be a completely new experience for many people, and your unique take on the subject matter will breathe new life into it for others.

Just Get Started

Staring at a blank page can be intimidating, but I can’t stress how important getting started is. Every great novel started with a single word, every work of art with a single mark on the canvas, every AAA video game with a single line of code. You don’t have to make that huge novel or painting or game all in one sitting.

When making longer stories, it helps to start at a high level, then break it down piece by piece. For example, if you’re writing a book, start by writing a few sentences about what the whole book is about. Then try breaking it down by chapter. Next break down what the first and second halves of each chapter will cover. Once all that’s done, actually do the work of writing the chapter. Use your breakdowns and notes as a guide, but don’t forget that those are just tools to get you started – It’s okay to deviate from them if you come up with a cool new idea.

Finish It!

Most creative people I know are really good at starting projects, but they tend to struggle when it comes to finishing them. There are many reasons projects get abandoned – Life getting in the way, perfectionism, moving on to new, more exciting projects, or simply because finishing something is hard work. That said, finishing is hands down the most important piece of advice on this list, especially if you’re new to creative pursuits and are trying to get a job. It’s better to have a single flawed, finished project than a bunch of perfect, unfinished ones.

If you ever get stuck working on a problem, the best suggestion that I have is to take a break. I know it sounds crazy, but stop working and go on a walk, get some sleep, or just think about something else for a while. You will continue to unconsciously work through the problem and a creative solution will very often present itself. Brains are cool like that! All that said, don’t forget to return to the project after taking a break – Don’t let this be what causes the project to remain unfinished!

Easy Ways to be Creative

We’ve talked a lot about the process of making something, but how does someone actually be creative? Here are a few easy ways to create new ideas:

  • Combine two things to make a new thing. A + B = C
    • If you’re having trouble coming up with a useful C in this example, start with random As and Bs and see if they lead you somewhere useful.
    • Still having trouble? Try an idea generator like this one.
  • Copy/steal from other creative works.
    • Don’t plagiarize, but use other works as inspiration. As long as you don’t literally copy/paste, whatever you borrow will become something new based on iteration, your own thoughts or edits, or the world you put it in. It can also help to take things from other mediums and see how they can fit your medium of choice.
    • “Good artists borrow great artists steal.” (See what I did there?)
  • Choose a theme and make decisions based around that theme.
    • Examples: Fear, library, greed, time
    • Or push this further: Choose two themes and combine them to make a cool new thing! For example, Zelda: Link’s Awakening = Nightmares/dreams + music.
      • This uses the tip above about combining things! A + B = C
    • Having trouble coming up with good themes? You can find theme generators online as well.
  • Brainstorm/play with the problem.
    • Creativity is just playing around with thoughts and ideas.
    • Playing with a problem, especially using humor and doubly especially with humor and other people you’re comfortable with, is a huge help when trying to think creatively.

Conclusion

So there you have it, my tips for being creative and the creative process in general. My background might be in game development, but that’s just a medium. These same tips work for writing, painting, crafting, or any other creative endeavor. What are you waiting for? Go get started, but don’t forget to follow through and finish it!