Interplanetary Update #6: Building Upgrades

Once again, we a delivering a fresh Interplanetary update with some new and interesting stuff. Nevermind the shortness of the changelog, it's pure business! Let's look into it.

What's New?

Good news for all of those sick and tired of waiting for long turn-processing. With the latest action phase optimization, turn-processing should go a lot faster! Down with the waiting!

To add some depth to the building phase, we are introducing a Building Upgrade Mechanic. This is what all that tweaking in the last update was building up towards.

Each structure now has two upgrade slots on their info window. Clicking on them allows you to buy upgrades that will boost the stats of the building. Want some more "oomph" to your railgun? Buy some damage boosts or AOE upgrades!

Be careful, though; once you fill the upgrade slots, you won't be able to add any more upgrades to that building or delete the ones you've added. Specialize accordingly.

For starters, there will only be a couple of basic upgrades available and just two slots for each for each structure, so play around with them and let us know what you think! We'll be waiting for your suggestions for future upgrades or system changes. The upgrades will get more diverse further on and most of them will be tied to the tech-tree.

Interplanetary Version 0.6.4390_EAC_6.5

• Building Upgrade mechanics added
• Turn-Processing time greatly improved

That's about it for this time! Check out the update and don't forget to let us know what you think.

As for the Whack-a-Dev, everything so far seems to be on schedule and you can expect it on August 9th, 6pm GMT/11am PDT. In the meantime you can learn to use the new upgrades efficiently and blast us into oblivion when the time comes! Looking forward to it!

Interplanetary is available on Steam Early Access

Interplanetary has been Greenlit! Huzzah!

We did it! Huge thanks to everyone who took the time to check out the game and voted for it!

Now that our pathway to Steam is finally open, we can continue to concentrate on finishing the game. Interplanetary is steadily approaching it's beta state, but there's still a lot to do.

As you may know, you can also help by trying out the current alpha version of the game and giving out some feedback. Once you have an alpha code (available by pinging us on Twitter or Facebook), you can move out over to www.interplanetarygame.com and grab the test version!

Thanks again, everyone! We literally couldn't have managed this far without you!

What's up, Interplanetary?

The game is actually starting to look kind of nice! After all the recent devblog posts, we thought it would be nice to get back to the basics for a moment and give a little update on how we are doing with Interplanetary and internal Team Jolly Roger stuff.

Interplanetary is prettier and more functional!

It's true, a big part of why I wanted to write a quick status update is to showcase some of the new graphics! We've been busy implementing a graphical beauty that we won't be ashamed to show around. Of course, this is still not final, but it's a nice improvement to what we've had in the past.

We've come a long way...

...and we're still not done!

We're currently working on creating something nice looking and playable for o
ur upcoming visit to DigiExpo in Helsinki. Something big is brewing and we'd like to have a nice slice of the game to show to people there, and maybe even let them try it hands-on.

As for the gameplay, we basically have all the basic features of the game present, one way or the other. For showcasing the game, we're concentrating on getting the targeting phase work properly and feel good. It is, after all, a major draw of the game. The other main feature that we aim to polish, is the building of structures and maintaining them. These two features by themselves already make a kind of a nice little game, but there's a lot more in store for the next version.

TJR is a company, for reals!

This is quite huge for us: we managed to break free from the grasp of our university and form an independent company, officially known as TJR Games! We're still the good old Team Jolly Roger, just a bit more official.

Starting a company wasn't a simple thing to do, and preparing for it has slowed down the game development considerably at times. There was a period, when we didn't actually have a work space to do our game development and the team was separated to work in their homes. This rarely works.

Was going to add a picture of the office, but who cares? The game looks nice.

Luckily, we found an office space for a manageable price and filled it with computers and other stuff needed for game making. For a new indie company, this wasn't exactly cheap overall, but at least the situation is more stable now and work can resume in normal pace. Or, extranormal, since we're in a full-on crunch mode! Busy, busy.

Hungry for more screens? Check out our stash of pics, from the oldest of versions to the new shiny ones.

Creative process and UI design, part one

Hello!

I'm Tarita, one of the two artists in our team, and this is my first blog post here. My main task in Interplanetary is to help to make the User Interface fuctional, and hopefully, also pleasant to look at.

Thankfully, I have studied graphic design in the past, and my previous game projects have provided me with enough experience to understand that design work like this involves more than just throwing a few boxes here and there and calling it a day.

So, the theory side is pretty well covered, but my hands-on experience? Very little. Our team size used to be a lot smaller, and as the sole artist my attention was mostly directed at in-game assets. I had made some UI graphics, too, but there wasn't enough time to actually concentrate on them, not properly. Interplanetary is my first chance to redeem the hasty UI:s of the past, so to speak.

Despite this, my first mockup sketches for Interplanetary were conservative: Electric blue elements surrounded by a subtle shine of blue light. I wasn't satisfied. While the combination definitely looks appealing, it's also a very common sight in scifi games, and I wish to avoid sticking to the most obvious style choice. I was looking for something modern and sleek, simplistic rather than cluttered and glossy.

Pictured: creative process

After "some" time, blood and bitter artist tears, I ultimately came up with three different style options for us to choose from: a) A light and delicate combination of solid metal parts and transparent holograms, b) Solid, traditional boxes with a white color scheme, and c) A mix of typography and colourful, yet subtle elements that obstruct the game view as little as possible.

Based on the sketches, we decided to go on with C, but we dropped the main focus from the typography elements and I was requested to tone down the amount of colours. To compensate for the losses, I picked up the white colour scheme (originally from B) and decided to use partially transparent objects instead of plain text.

To be continued...

In my future posts I will shed light on some of the many hassles of designing a functional UI, and provide you with some images of the final UI style. See you there!

Code of Interplanetary: Can I see some ID, please?

Hello there, dear reader. I'm Riku, you might remember me from that more technical post I wrote about making a GUI with Unity. In addition to blogging about our Unity woes, my task has been programming network functionality for Interplanetary.

The game uses a client-server model, where each game client records what the player on that client does during their turn. When the player ends their turn, the client sends all that information to a server for processing. When the server gets this data from all the players, it combines all the player actions together and then plays out the turn, figuring out the outcome. The clients then get back the results for the turn and display some pretty pretty particles flying around to show their player what happened and who shot who.

From the outset I decided that to implement this, I would give everything a unique ID that would be used by different clients and the server to make sure they are all talking about the same thing when communicating. For instance, whenever a building takes damage, the server takes note of the ID of the building, and then tells every client that building number 5 just took a hit. This way, to keep every client in sync so they are all on the same page, I'd just need to make sure they all use same IDs for each object. This sounded very simple at first, but ended up being a little bit tricky in practice.

Let's examine how a building gets assigned its ID. When a building is being built, it should be assigned an ID right away so it can be found again if it needs to be operated on later on. However, the game clients can not be the ones generating the IDs. Each ID needs to be globally unique, and the clients can really only generate IDs that are locally unique to only that one client. They could end up generating same IDs that some other client is also generating for themselves, at which point there would exists two buildings with the same ID. Let's illustrate this with an example. Imagine that ID is an integer, and generating an ID means using an integer one higher than the previous one used. The first building built would have ID 1, the second one 2 and so on and so forth.

Since clients do not have knowledge about each other, they would end up generating same IDs as everyone else. Then, when the information about these built buildings is sent to the server and combined together, the game world would have multiple buildings with, say, ID 2, and there would be no way to know which building ID 2 would refer to. Any time the server would send the clients a message about building 2 taking damage, the clients could not possibly know for sure which building had actually taken damage. This is why all the IDs need to be generated on the same machine, so there won't be duplicates.

The natural option to use here is to generate all the IDs on the server. However, building the buildings happens on the clients' end. It would be possible to ask the server for an ID every time a building is built, but that would create a waiting period whenever a player would build a building and the client waited for the server's response over a network. It was decided that all network traffic would be centralized at the ends of turns, and communicating with the server during a turn would be avoided whenever possible. Because of this, buildings get their ID assigned to them at the end of the turn during which they are built. When the server notices that a player built a building during their turn, it generates and assigns an ID to it. When other clients receive the information that a building has been built, they get the ID for the building in the same package, along with other data like the position and type of the building.

There is one issue left to solve, however. The ID for the building needs to be delivered to the client who built the building, as well. It does not sound complicated at all, but it has some practical implications. For the other clients, the ID was delivered together with the information on how to build the building. They can, therefore, assign the ID to the building as they build it. The one client who already has the building only gets the ID. When it receives the ID from the server, it needs to know which building to assign it to. Normally, whenever the server sends a client instructions about operating on a building, it refers to the building with its ID. However, at this point in time, the building does not have an ID yet! A solution to this is to use temporary local IDs. When a client builds a building, it does still assign a locally unique ID to it. It is not going to be unique across all clients, but it does not need to, as it is only going to be used temporarily until the global ID assigned by the server arrives to the client. The local ID is sent to the server alongside other information about the built building, basically telling the server: "Yo, I just built a building with local ID 5". The server then assigns a globally unique ID to the building and tells the client: "Your building 5 now has ID 7", at which point the client switches the building's ID from 5 to 7. At the same time, other clients just get information about building 7 being built, being blissfully unaware of 5 having been involved with the building at all.

So far things have been relatively straightforward, and were easy to anticipate and prepare for when I was implementing this system. However, there is one complication left to solve, and I admit overlooked it and did not see it coming before I was at the point where it made things not work. Let's look at what might happen when a client builds some buildings.

There are two buildings built on previous turns and the two clients in the game are synced up to that point. Then they both start building buildings and assign local IDs to them, beginning from 3. One client builds one building, with local ID 3. The other one builds two buildings, with local IDs 3 and 4. The server then gets information about this and assigns globally unique IDs to all the buildings.

The global IDs assigned start from 3 and go up to 5. Now, let's look at the second client receiving instructions to replace its local IDs with the newly assigned global ones. It finds the building with ID 3 and switches that building's ID to 4. It then goes to find the building with ID 4, to replace that building's ID with 5. The problem here is that now there are two buildings with ID 4, because of the previous building 3 that was just updated to have ID 4.

The solution I used for this was to fetch a building that needed its ID updated, store its upcoming global ID with it without actually yet updating the ID, and then repeating this process for each building in a need of an ID update. Then I go through all those buildings again, assigning each the ID that was stored with them. In the above example this amounts to finding the building with ID 3, and telling it "your ID is going to be 4, but not yet", then finding the building with ID 4 and telling it it would have its ID updated to 5, and then telling both the buildings to now switch their current ID to whatever ID they were told to switch into.

That is the essence of how things get their identifications in our game so every computer involved can talk about the world state with each other and are able to keep in sync when it comes to the state of the objects. For different objects than buildings the process of assigning the ID is a little different, but that’s something for another blog post. Stay tuned, and maybe I’ll get assigned to talk about those other things in the next episode!

Inside Interplanetary: The Resources: The Material: The Movie

Don't worry, it's just steam. Black, smelly steam.

Yo, everyone! Game Design fellow Sasu is back in action, currently testing the newest build of Interplanetary. Some key features are still missing; it's a little bit difficult to enjoy the game when buildings and cities don't even have life bars, but the game is otherwise quite playable already. Add in a couple of features and balance, balance, balance!

Today we shall delve into a central system, that isn't completely implemented in the game at this point. As such, many of the terms used will probably differ in the final game and the system itself will evolve. In spite of that, let's take a look at the basics of...

The Resources of Interplanetary: Material

We've already mentioned some things about Interplanetary's resources in these posts. There are quite a few, such as Production, Science and Power, but one of the most important ones, for you to keep your eye on, is Material.

Material represents everything, well, material that you need to build structures: concrete, rebar, currency, whatever. It's all lumped under the moniker of Material for your convenience! Along with Power, a bar showing the available Material is always shown to the player; these are the two things that need constant attention when developing your planet.

All those railguns ain't cheap.

As we've explained before, many actions in the game cost Power, the amount of which is recalculated, according to the amount of Power Plants, at the beginning of each turn. Material, however, works more like normal currency, meaning it can easily be depleted, if you consume more than you produce.

The game begins with a set amount of Material for each player, but it won't last for very long. A savvy player will construct a couple of Mines to keep their stocks full. A normal Mine yields a small amount of Material each turn, but they can be upgraded to be more efficient.

The Material doesn't just appear from thin air, though: each planet has a set amount of it, and once it's gone, it's time to start thinking about alternative means of sustaining your development. The planet's Material is divided into three parts: Normal, Aquatic and Deep. The type doesn't matter when building structures, but each of them is acquired in a slightly different way. Most of the planet's Material is Normal and is mined by Normal Mines. Aquatic Material is mined with Underwater Mines and Deep Material is gained by upgrading Normal Mines with Deep Mining capabilities.

Planet Material is like a pizza: tasty and crunchy and I'm hungry.

Initially, all Mines work quite inefficiently and a lot of the mined Material will go to waste in the process to convert it to usable resources. This can be remedied with upgrades, however.

Interplanetary warfare can take a heavy toll on the resources, and you will inevitably run out of Material at some point. When the final drop is consumed, it's time to look to the skies and attempt to colonize a nearby planet. To colonize a planet, you use your interplanetary weapons to shoot Colonization Probes, which in turn will set up a small colony on the planet they land on. The colony is able to, among other things, mine Material and send it back to the home planet.

Long matches may very well end with almost the whole planetary system dry of usable Material. Insert commentary on unsustainable development and the irony of war here.

Hopefully, a complete image on how to play Interplanetary is beginning to form for everyone. We'll be back another time with more tidbits and such. See ya!

Inside Interplanetary: The Music

Sasu, here! The HQ of Team Jolly Roger has been quite busy recently. Closed alpha testing is supposed to start very soon and here we are, still implementing some features! I hope we can keep up with our secret timetable.

It's been very nice to hear people reacting positively to Interplanetary. We were pretty surprised to see it featured on a Japanese entertainment blog, Damonge News! Well, it's not like we mind negative reactions either; they can offer some interesting viewpoints. So comment, praise, criticize, whatever you feel like! We might even draft the most enthusiastic people for the alpha testing.

This time, the main subject of this blog post is something that's still very much a work-in-progress:

The Music of Interplanetary

We've been struggling with the music for some time. Everyone has been very busy in actually making the game playable, so inevitably, things that give the game flavor, such as music, have sometimes ended up taking the back seat.

Music in games is, however, a very important feature. It creates the mood, keeps things dynamic and can even guide the player. In Interplanetary, we need music mainly to give the player some kind of pace: different game states, such as building and action, will have their own kinds of music, showing player their progression and making the whole experience much more powerful. As important as good gameplay is, the feelings a game gives to the player, can be considered equally important.

We managed to grab a musician, Vince Parrish, to help us with the music creation. The problem was, we didn't have a clear consensus among the team on the exact feelings Interplanetary should give to the players. The way we decided to go about with this, was to create a short teaser trailer to get a sense of the atmosphere of Interplanetary. Vince was given only vague instructions, in addition to a mock-up teaser, so he had lots of freedoms with creating the music.

Listen here!

Vince's music hit exactly the right notes, but there was disagreement with the actual feeling of the music. This wasn't surprising, considering the lack of collaboration. At this point, we begun to discuss the music more. We changed things around slightly, and managed to create a somewhat satisfying teaser for Nordic Game.

As we explained in the last blog post, we decided to redo the teaser drastically after the convention. This time, we planned exactly what we wanted the teaser to communicate. We finished the video completely, with final graphics, and then started to draw an exact idea on what we wanted the music to sound like.

Within the team, we collected reference music to send to Vince. While going through Youtube, looking for ideas, we came across the soundtrack of Inglourious Basterds.



This gave us an idea. What if the music was very serious and warlike, but in an old-fashioned way? Interplanetary itself is a bit of a mishmash: traditional gameplay combines to create something new and realism collides with the kind of a ridiculous idea of interplanetary artillery war. The music could be old fashioned, but mixed with modern instruments. It could also be so serious that it can turn a bit humorous.

The new music was soon mixed and it fit the teaser perfectly.



With the teaser to guide us, we've started to produce music for the actual game. It'll be stylistically similar and fit the gameplay situations. We haven't yet decided if the music will change a lot dynamically; it would be really cool if it would fit the actions perfectly when the missiles fly towards the warring planets, but this would be difficult to do properly. Time will tell.

I hope this was an interesting look at our process. See you next time, and meanwhile, enjoy this unfinished concept piece of Planet Building music!

Listen here!

Being a tease(r)

Hello, Jukka here. This time I’ll explain a bit about process of creating a teaser and why we even wanted to have a teaser.

We are currently working our way towards alpha. With each step in development, we are also trying to reach more audience. As a young and still pretty much unknown dev team, we need to employ as many means as possible to make Interplanetary and ourselves known out there, unless we want to count everything on people finding us through Steam Greenlight. This is not that reliable strategy because of the sheer amount of other games that go there. Trailers are of course very, very widely used in games and movies, so a we knew we’d be making at least one at some point.

The  Nordic Games Conference was looming in the horizon when we decided on making a teaser, which we could show around. Though some of us aren’t exactly fans of teasers, since the information they give usually isn’t much and doesn't even necessarily include actual gameplay... But, as the name suggest, it’s supposed to tease the viewer to see if we manage to pique their interest or at least when they bump into it in the future, they’d recognize us or the game. Also it’s short, so it’s quite easy to show it around to people in person.

The Idea

So by the time we first wanted to have the teaser we had something of a playable prototype, but its purpose was to test some of the game mechanics and most of all, familiarize the crew with Unity. So it wasn't really something we wanted to feature on a video. Instead we decided to focus on artwork and try to tell something about the setting and the mood of the game.


Romeo & Juliet

So we sat down to think up ideas... And then pretty much jumped the first train which felt interesting: The prologue of Romeo & Juliet:

"Two planets, both alike in potency, In distant cosmos, where we lay our scene, From ancient greed break to a mutiny, Where great arms, shake the grounds apart."

So obviously, we made some modifications to it (here’s the original) and it was only the first few lines we wanted anyways. It kinda fitted and we hoped to get that “I see what you did there”-effect when someone would recognize the source material… We even got someone to record the lines in genuine British accent.

The pacing made it feel much longer than 30 seconds.

NGC

So comes the deadline along with Nordic Games Conference and the teaser is finished. We had planned to have the teaser running at the Kavio Cluster’s booth we shared with our fellow dev teams, but in the end, we didn't have a big display or sound, so Niklas showed it around on a tablet. After he got back we had “post-mortem” about the event and the feedback we got and concluded the teaser didn’t really do what we wanted… Turned out nobody really made the connection to Shakespeare and so it just felt like a poetic narration and the whole shooting-at-planets-thing didn't quite fit, even in any particularly funny way.

Revision

So when the first version of the teaser didn't work, we sat down again to come up with a new plan. We wanted to use the existing material as much as we could and still we wanted to tell something about the setting, so we came up with the idea of following a railgun shot as it flies through space, towards its target.

Execution

My main tools for the job were Photoshop, Blender, After Effects and Premiere. After Effects I hadn't used before and there’s still much to Blender and 3D-modeling for me to learn. For both versions I made a storyboard of some kind. For the first version, I animated some sketches and transitions in Photoshop. Although it gave a good idea on how things would look in the final product, I should have used more time on the sketches themselves. I ended up using more time on animating their movement than on the actual images. So for the second version I stuck with more traditional storyboard and instead put more thought on what I needed from the material that I would need to create still.

Storyboard for the second version 

It is still very rough so if it’s not you who’s doing the editing/material I suggest you put a bit more effort into making it clearer for outside viewers.

Images

I’m not yet a very fast artist, so I often find having to remind myself not to get stuck in one image for too long. I've been also watching the videos from FZD-school channel on Youtube, and one point that Feng Zhu often makes in his videos, is to keep in mind what is the selling point - the most important part of the image - and make sure that that part is well defined and presented.  So, since I didn't have the time I needed to go through the images and make everything detailed, I tried focused my efforts on just certain parts. This also made sense because a single image wouldn't be shown so long that the viewer could explore every part of it.

All the images used in the teasers. Only half ended up in the final version.

While working on the second version Tarita, our artist, suggested we add a bit more life to the images by adding some animation in them. I hadn't planned for this to start with, so it meant a little extra work, but we figured it was worth it. I went through each image sliced them to layers, adding some extra where I needed. Most of the animations I did in Photoshop, except the final image with the city and explosion. It had so many bits and pieces that After Effects was easier to work with than Photoshop CS4's pretty clunky animation system.

Will it Blend?

3D is not exactly my main proficiency, but thankfully, planets are not the hardest thing ever to model, although, if anyone knows a good way of avoiding texture distortion at the poles of a sphere in Blender, I’m all ears! There isn't much I can say about making the 3D material, except that rendering the it as separate images, and using After Effects to turn them into actual video, was a life saver. It was mostly due to me forgetting to adjust some setting or noticing something in the middle of an animation that I didn't like, but having to render the whole animation again would cost me so much time since my work computer cannot handle Blender rendering and working in Photoshop at the same time.

An added bonus was that I could render just the planet on a transparent background and add the background in premiere and adjust it however I wanted.


Music

Although we can find a way to do pretty much anything we want on our own, sometimes it’s just better and faster to rely on other professionals. And concerning the music, we were fortunate to come across Vince Parrish, who agreed on making the music for the teaser and even the game itself.


And that's it, the story of creating a teaser. After we reach the alpha, we are also planning on finally getting some gameplay footage out there. So, look forward to it!

Logos are not built in a day

Hello dear readers, it's Jukka here to serve you another post, this time on the subject of Interplanetary's logo and what went into the process of designing it.

Why do we need a logo?

The idea behind a logo is to provide people with something to recognize the product by. Having just a name for a product isn't quite enough, as there can be other things going with the same name (as long as it's not a similar product/entity etc).

A logo provides the name a unique and recognizable aesthetic. It's a building block of a brand. Brand is something that is born instantly, it's the sum of people’s thoughts and opinions of the matter at hand and those things can take time to form. A logo can give people something to base their thoughts and opinions on, when they first encounter a new brand and also a way to recognize it when they see it again somewhere.

Personally though, I feel that game logos don't need to be as thought out as traditional corporate logos and other product logos, as games have better ways of introducing themselves to new audiences, for instance trailers.

Design process

To start off, you need a name and, lucky us, we already had one. Both I and Tarita, our artist, started by sketching our own ideas.
The name “Interplanetary” was originally just a working title, but as it hadn't been used for a game yet and it did a good job in describing the game, we stuck with it (there's a scifi movie by the same name that came out in 2008).
I like to start logo designs by sketching straight in Illustrator. I combine shapes and use the pathfinder tools to cut out and merge them, looking for interesting results.

Some of the first sketches and their variants.

The world of scifi-themed logos is filled with planet shapes and crescent moons, blocky typography and carbon fiber textures. While I tried to come up with something a bit more original I also wanted to include the idea about shooting at planets... Which at first resulted in designs that mostly remind you of things you learn about animal reproduction in biology class. So in the end I made some compromises and didn't come up with the most original of designs, but rather ones I felt conveyed the idea best.

After a while we gathered up the sketches and chose four we liked most and put together a simple survey to ask for opinions and feedback from our friends in facebook. The survey provided us with good feedback and strengthened our own opinion on which design to choose.

The four candidates we chose for the survey.

After posting the survey I moved on to make a short teaser to show at the upcoming Nordic Game Conference, which ended up taking all my time. As a short time remedy we used a plain white version of the logo that was most favored. This way we had a logo, which would be pretty close to it's final form and most probably wouldn't change so much that it would be unrecognizable.

After the NGC, I postponed working on the logo for some time, while I concentrated on honing the teaser and its idea bit further. The teaser is still a work in progress, but I did finally take the time to put the finishing touches on the logo.

Final version of the logo.

And that sums it up. Hope to see again next time.

Free Your Play 13, thanks Supercell!

At this point we realized the event was a bit bigger than we had expected.

Hello again! Finnish Midsummer festivities made us drop out of our regular blogging schedule, but we're back now with a little description of the excellent Free Your Play-event.

We had a chance to travel with unusually large portion of our team this time. Supercell was generous enough to provide four of us with tickets, and that's everyone who applied. We considered the possibility of traveling by train, but eventually decided a road trip would be the way to go, and that turned out beautifully.

The crowd gathers and the event is about to start.

The event started in the early afternoon, so we had plenty of time to check out, eat breakfast and even do a little bit of shopping before heading to the event site at tapahtumakeskus Telakka. There was even a free buss transportation from Kiasma, which made things a little bit easier for us non-locals.

Ben Cousins, about to present his theory on the future of gaming.

The official program of Free Your Play consisted of a couple of keynotes, interviews and a panel discussion. A recording of the program is available as a webcast here, but feel free to take a look at my nutshell'd version.

Sadly Peter Molyneux couldn't make it to the event, but Ben Cousins covered his former boss very well with his own presentation.  In short, Ben introduced us the idea that game industry seems to be following the cyclic pattern of disruptive innovation, and it helps us to predict the future direction of development. 

After Ben Cousins we had a chance to listen to an interview of Daisuke Yamamoto from GungHo, the creators of tremendously successful Puzzle & Dragons. Turns out GungHo does many things in a more traditional way and even by the feel instead of collecting metrics and trusting them blindly. 

The next part was a panel talk with some hot names working with F2P model, like Lassi Leppinen (Producer of Clash of Clans), Tom Putzki (Director of Communications, Wargaming.net), Tommy Palm (King.com) and Daisuke Yamamoto as previously mentioned. There was way too much good stuff to cover in this blog post, but the general feeling seemed to be full of anticipation and there's still a lot more room for growth for F2P as a monetization model. Is it going to be the only one in the future? Probably not.

Official program is over, time to mingle!

As usual, the most important part of the event started when the official program ended. The guys at Supercell seem to know this very well, and they provided a very good environment for socializing. The food was good, the bands were great and yes, there were free drinks. Again we had the opportunity to meet a great number of interesting people and make new connections. 

It appears that the event website is not accessible anymore, but in addition to the webcast linked above, there is more info and pictures available at the Free Your Play event page at Facebook. Once again thanks to Supercell for hosting this awesome event. Let's hope we can be there next year as well!

Meet the Team!

Have you ever wondered: "Who are these people?" and "Why are these people?" We have taken this opportunity to introduce Team Jolly Roger, the makers of Interplanetary! Step on in, if you care.

Niklas Saari, team lead

Favourite Game: Cave Story

Special Skills: Turning otherwise useless information and cat videos into inspiration and game ideas.

Niklas is the guy tasked with the job of keeping the TJR machine rolling as smooth as possible. Sometimes this means wrench work and pirate language, but usually lubricating the gears with coffee is enough.

Antti Tikkakoski, programmer

Favourite Game: Deus Ex

Special Skills: Cynical person

Single-player hardcore PC gamer. Never have, never will buy a game console (will accept gifts to tinker with, however.) Also likes Sci-Fi stuff.

Jussi Hyttinen, programmer

Favorite Game(s): Final Fantasy VII / Silent Hill 2

Special Skills: Vivid daydreaming and remarkable skill to forget everything that doesn't relate to gaming

Jussi is a UI programmer and really enjoys listening to game music. Usually he sits quietly in his not-so-philosophical thoughts and scans his surroundings for things that don't belong there...

Jukka Kivijärvi, game artist

Favorite Game: Changing by the month, currently, Kerbal Space Program

Special Skills: Jumping from one thing to the other, learning it as he goes.

Jukka is our artist working on whatever the situation calls for, from concepts, textures and 3D to the occasional graphic design tasks. Usually wears headphones when working, but forgets to put any music on.

Tarita Tammela, game artist

Favorite Game: Baldur's Gate

Special Skills: Overthinking, turning into a bookworm on full moon

Tarita is still waiting for her letter from the local school of witchcraft and wizardry. She also practices her ninja skills when around people she doesn't know well. Has a silly pet name. Also has made a pact with a golden dragon.

Teemu Tammela, programmer

Favorite Game(s): Dark Souls, Ace Attorney series

Special Skills: Surreal logic, catlike curiosity

Teemu has been gaming since the age of two. He loves puzzles, including code debugging and creating game wizardry with the power of math and imagination.

Olli Leinonen, programmer

Favorite Game: Avoid Writing Your Profile Info

Special Skills: Not writing his own profiles, numerous club memberships

Olli is a member of the Team Jolly Roger Code Wizards-gang, the spiritual leader of the I-Don’t-Feel-Like-Writing-About-Myself – cult and a frequent member of the quite popular in TJR “Facial Hair Appreciators” club.

Valeriya Paykacheva, marketing idler

Favorite Game: Katamari Damacy

Special Skills: Being amazing, complementing herself, pronouncing her last name correctly

Valeriya is our absolutely fantastic marketing contributor, who enjoys spending her time with boring and tiring people with continuous eager talks about movies, rocking Trivial Pursuit and not caring about Olympic Games. Has never been bitten by a shark.

Sasu Kemppainen, game designer

Favorite Game: Grim Fandango

Special skills: Great at making pizza and eating it

Sasu is our designer extraordinaire, who enjoys talking about Star Wars, playing stupid games and eating bread whenever possible. Determined to either design a genius game or to become a blitzball someday.

Riku Leinonen, code monkey

Favourite Games: Phoenix Wright - Ace Attorney

Special Skills: Breaking the repository, playing Super Mario eyes closed.

Code monkey likes tea and Dr. Pepper

Code monkey likes immersion and emergent gameplay

Code monkey very simple man

With a taste for silly hats



Maybe it was a bad idea to let people write about themselves?

Inside Interplanetary: Turn structure

This is the game. All of it.

Welcome to another game design blog post. I'm Sasu and I'll be your host today and I promise that the topic today is much more interesting than it sounds. It's time to finally tell all you folks out there about Interplanetary's turn structure.

Interplanetary is a turn based strategy, so unsurprisingly, it consists of turns. The flow of these turns dictates the very basics of how the game is played and they can be neatly divided into three major phases: Build Phase, Targeting Phase and Action Phase.

Build Phase

During the Build Phase, your job is to manage your planet and devise your strategy. You can directly build your infrastructure, develop technologies and spy on your enemy. This phase is strongly reminiscent of the base building in most strategy games.

The placement of different buildings can have strong repercussions. How to keep up your Power Grid? How to protect your buildings? Should you spread them out over the whole planet or keep them together? The attack might come from anywhere.

I also promise that the graphics will be much nicer.

Depending on the power of your Intelligence structures, you can also take a peek at the enemy's planet and plan your upcoming attack accordingly. Be careful, though: if you're not equipped with adequate counterintelligence methods, your enemy may do the same to you. If you're careless with your building strategy, you can soon  expect to see some missiles, aimed directly at your weakest spots.

Then there's your Technology level. You must choose what technologies to concentrate on and what route to take on your technology tree. Unlocked technologies grant you bonuses and new projects that you can develop in your cities. All in all, there's a lot of room for strategy here.

Targeting Phase

While you can enter and exit Targeting Phase at any time, you'll probably be mostly going there after you're finished with your planet's maintenance.Once there, you may target all the weapons you have built at the enemy planet. That is, if you still have some Power left over from other things to actually fire each of them.

Aiming two lasers and one railgun. 

The amount of Intelligence points you've collected determines your ability to aim at the enemy. You can always try to shoot your cannons at the general direction of the enemy, but some weapons allow you to target specific structures on the surface of the planet. Of course, you have to be able to see them first, and that's one of the main points of Intelligence.

Action Phase

This is the payoff at the very end of the turn. When you click on the "End Turn"-button, the Action Phase commences. You see the overview of the planetary system and both yours and the enemy's aimed weapons launch at their targets. All you can do now is wait and enjoy the carnage.

Argh, the planets move!

After this, the next turn starts and you may start inspecting the damage and reacting accordingly. That's all, in a nutshell. Of course, there's a lot more to discuss about each phase and the little details, especially the exact workings of the targeting system. We've barely scratched the surface here, but hopefully everyone now has a proper idea about the very basic gameplay. See you next time!

Designing Tech & Research

When can I finally have a clone to call my own?

Hello, hello! I'm Sasu, a game designer on the most wonderful game, Interplanetary. Lately, I've been working on the technology tree and the progression of upgrades, which will be our subject this week.

One of the main themes of Interplanetary is the development of technology. Players start up with technologies that seem quite plausible to actually exist in a couple of years, but the further the game proceeds, the more incredible they become. Sufficiently advanced technology is indistinguishable from magic, but we still try to make it feel at least somewhat believable. No huge science fiction star fleets, just humble interplanetary space guns. 

In Interplanetary, players gain science points that are used to research new technologies. The generated points are counted towards technological progress at the beginning of each turn. Each technology needs a certain amount of science points. When the goal is reached, the technology is usable and new development options are opened. 

Original diagram, do not steal.

Projects are construction or development operations that take place in cities and span over several turns. Researching technologies not only grants various bonuses, but also opens up the possibility to develop certain projects. For example, the technology of “Quantum Paired Sensors and Communications” allows the player to detect incoming projectiles earlier and to build facilities for “Communications Shielding” and “Faster-Than-Light Communications”. 

All the technologies and projects have certain pre-requisites. You need to research “Particle Physics” before being able to research “High Power Particle Beams”, which in turn allows you to develop “Orbital Laser Defense”-project. Sometimes, a project must be completed to unlock new technologies. No “Orbital Manufacturing” without the help of a “Space Elevator”. 

Research enough technologies and you just might reach something amazing. We might add some wildcard mechanics to the tech tree so some of the more incredible tech may be hidden and only discovered accidentally. That is, after all, how science tends to proceed. Eureka!

Alrighty, that's enough nuggets for now. I can almost promise you that the details will change in some ways, so no frowny faces if they do, okay?

What news from the south?

This week was an interesting one! We traveled to Helsinki with some fellow Kavio game developers in the beginning of the week and got a change to present the very early prototype of Interplanetary to some game industry professionals. Thanks again Frozenbyte for having us!

Needless to say, we got some very good feedback. While there are still some problems with the proto, we we're happy to notice we are moving to the right direction and the main parts of the game work as intended. It's also very encouraging to notice that nearly all of the issues that came up were something we had already acknowledged.

The Interplanetary proto is now officially finished. Though we didn't have enough time to try out all the features we wanted, we now have a good idea of the final game design and we are ready to start working on the final version.

This week's blog post was delayed a bit by busy busy business and a thunderstorm, sorry about that.

Inside Interplanetary: Cities, towns, colonies and buildings

Beautiful day in the city of Ars Konsepth. What could go wrong?

This time we have a couple of lines (read: wall of text) about the role and functionality of Cities, Towns, Colonies and Buildings in Interplanetary. Again there needs to be a disclaimer: Much of the design described here may change during development. If you have thoughts, ideas or even suggestions, feel free to share in the comments.

Cities are one of the key elements of Interplanetary: They hold majority of the planet's population and generate resources like Production and Science. Each city has 1-6 production slots for different Projects that  provide either one time bonuses, such as population growth boost, or permanent ones like Space Elevator. Permanent bonuses occupy the production slot they are built in.

Cities cannot be destroyed in a single turn, but if their population is reduced enough, they will turn into Towns. It's theoretically possible to destroy an enemy city by precision strikes across two turns by turning it into a town , but considerable amount of firepower is needed as Cities are quite resilient.

Towns could be described as placeholders for potential cities. They appear on the globe from the beginning, but cannot be interacted with directly. Towns hold some population just like Cities, and when the population grows large enough, the town becomes a City. Player can speed up the growth by protecting a city with a  defensive building or building other structures near it. Unlike cities, Towns can be destroyed.

Colonies come into play a bit later in the game. A sufficiently advanced civilization can develop a Project for colonizing another planet in the same planetary system. The main function of a colony is to provide precious material for the player, but Colonies also act as forward platforms for some useful Projects and upgrades that cannot be built elsewhere.

Buildings are megastructures that serve a single purpose like producing resources, defending Home Planet or gathering intelligence. Players can choose fairly freely where they place the buildings, as long as they are not built in water etc. However, placing a building has almost always a tactical side to it. For an example, building in tight clusters makes buildings more defensible, but also makes them vulnerable to splash damage. Some weapons require line of sight, so building them all around the globe might be a good idea as opposed to concentrating them on one side.

So that's the very basics, we may write in more detail about these mechanics later. Lets us know what you would like to read and we will do our best to deliver!

Designing the Laser installation WMD

Giant Death Laser (work title) preying upon the enemy planet.

Hello to you, dear readers! I’m Jukka, one of the two artists working on Interplanetary. I will be responsible, for the most parts, for creating concept art and illustrations for the game.

In this post I’ll be talking a little about visual design, this time focusing on the "Laser installation" concept.

Our goal in Interplanetary is to make the technologies seem as realistic or feasible as possible without letting the gameplay suffer, so a big part in creating concepts for them is the hunt for applicable technologies that already exist or have been theorized. Luckily our team lead & designer Niklas is something of a "tech nut" so usually he already has some ideas to what might work.

The first step in starting designing the Laser installation, was to type "world's most powerful laser" in Google and hit the search. Quite fast I ran into the National Ignition Facility in US where they conduct research on nuclear fusion with lasers. They use 192 individual lasers all targeted to a small fuel pellet in order to reach the temperatures they aim for. 

So I thought that instead of using a single laser to create a powerful enough beam, it would be more feasible and interesting to have multiple lasers and have some kind of lenses to converge the beams into one. My thinking was, that a tower-like structure could be useful, so that the lasers could be arranged along its length along with the lenses so that theoretically the lenses wouldn't need to bend the beams too much. From that I made the quick sketches below, and later the one on the top.

Earlier GDL concepts. The idea of how they might work has remained pretty much the same.

Another thing to consider was the immense amount of energy needed to fire the lasers. While having it's very own nuclear power plant could be fun, I found out about SMES (superconducting magnetic energy storage), which besides sounding very sciency just might be a feasible way of storing the amounts of energy required... I'm still pondering what I'd do with the design to make it bit more interesting without making it look too unrealistic.

That's it for me this time, but I just might be back writing more of these posts in the future, and once the final concept is done for the Laser installation we'll no doubt be posting it to our Facebook concepts album.

- Jukka