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Foreshift: Ludum Dare #35 post-mortem

Last weekend I completed the Ludum Dare 48 hour competition. The goal is to make a game from scratch in 48 hours: all the coding (apart from frameworks you make public beforehand), art and audio need to be done from scratch and by one person. It takes place around the world and well over one thousand people submit entries.

You can play my entry on the web if you have an html5 compatible browser.

The Ludum Dare competition entry page is here.

I’ve only completed this game jam once before (a few years ago), but have attempted it several times. I usually end up giving up partway through when I have no good ideas, my ideas aren’t panning out well enough, or it stops being fun.



Title screen sequence


I thought that was going to happen again this time, because as of Saturday morning (the compo goes from 6pm Friday to 6pm Sunday in my timezone), I had rejected my initial idea and was back to square one.

The theme for this jam (announced Friday at 6pm) was Shapeshift. Instead of trying to get creative with the theme, I originally decided to just do the obvious: the player is an object that can morph into other shapes. In particular, you could morph between a circle, square and triangle, and move through the world in different ways depending on that. Movement was accomplished via torque (rolling). Not terribly original, and when I got a prototype up and running I didn’t find the mechanics very fun. In addition, the puzzles I was creating were very hard to fine tune.

At around noon on Saturday, I got a better idea: you would instead move around the levels like a normal character, and you would be able to swap the shapes of objects in the scene. A key difference here is that not all the shapes can move. A problem with my original concept is that the triangle and square pretty much had to move (in order to accomplish anything while playing them). This isn’t a natural thing for a square or triangle to do. With the new concept, movement is generally accomplished by turning an object into a circle. Squares and triangles are used for different tactics.

A constraint to make things more interesting (by limiting your options) is that you may only swap a shape with another shape that you are “holding”.

I was able to salvage some of the existing work I’d done on my first prototype and quickly get something up and running that seemed like it could be fun.

From here on out, I’ll discuss how I approached making the art, sounds and levels.


Nearly all the art for my game was scanned hand drawings or heavily processed bits and pieces from photographs I had taken.

Thought bubbles

Sometimes little pieces of “final detail” can inspire you when uncertain game mechanics can not. When I was pondering how to show the UI for the “held shape” the player has, I thought of some of the UI in Little Big Planet – in particular the menu selections that popup on in-world billboards that are attached to the player by a rope.

So I decided that the held shape should be visible in a thought bubble that follows the player around in a nice organic way. My motivation had been lacking, but suddenly this seemed like a fun little challenge to try to implement, even if it wasn’t a core gameplay mechanic.




The small mini though bubbles coming out of the player’s head could be attached on virtual hinges to the main thought bubble. I’d never used hinge joints in Unity before, but it was fairly straightforward to set up. The tricky part was setting the rigid body properties (mass, drag, etc…) to make the thought bubble in a reasonable fashion. Early on sometimes it would become disconnected and fly away, or continue bouncing uncontrollably.

A thought bubble with the held shape as the thought. The blue dots are the hinge joints.

A thought bubble with the held shape as the thought. The blue dots are the hinge joints.

The balloons and the held shape images are all just scanned hand drawings.


I took some nice mossy photos the previous weekend, and so I thought I would chop pieces out of them in order to construct platforms.

All art needs to be created in the 48 hour time frame of the competition, but there is a grey area when it comes to “derivative” works of art. It’s probably ok if you create something (during the 48 hours) that is partially based on previously existing art, or heavily processed parts of that art – as long as you’re creating something new.

I extracted bits from the blob of moss on the left to create the platforms.

I extracted bits from the blob of moss on the left to create the platforms.

At this point I decided that I should incorporate some semblance of lighting into the game. I pull out long thin sections of moss and used the burn and dodge tools in Photoshop to create the effect of light on the platforms.

Instead of having just a single strip of moss (and variations of) to use in the game, I created variations for different platform orientations: horizontal, vertical and two diagonals. Since I was “baking” the lighting right into the platforms, they can’t be rotated arbitrarily in game – the lighting would look wrong. So making the variations was a simple thing that went a long way to make the lighting look somewhat polished:


Horizontals on the top, 2 verticals on the left, and 2 diagonals to the right of the verticals (rotated so they fit nicely in the spritesheet)

Horizontals on the top, 2 verticals on the left, and 2 diagonals to the right of the verticals (rotated so they fit nicely in the spritesheet)


The platforms in game:


Semi-consistent lighting in-game (from the top right) regardless of platform orientation.

Semi-consistent lighting in-game (from the top right) regardless of platform orientation.


The shapes

I had hand-drawn shapes for the UI versions of the three shapes, but I needed something to represent them in game. Bare wood seemed to fit with the forest theme, so I grabbed some parts of tree trunks from a photo and cut them into the appropriate shapes.


Circle, square and triangle shapes, along with "glowing" versions. The black dots are something I do so that I can have stable sprite names when I auto-slice the spritesheet in Unity before I've filled in all the parts of the spritesheet.

Circle, square and triangle shapes, along with “glowing” versions. (The black dots are something I do so that I can have stable sprite names when I auto-slice the spritesheet in Unity before I’ve filled in all the parts of the spritesheet).


I probably could have chosen a better source image, because they don’t exactly look like wood (but they are!). Later on, I decided I wanted a glow-y hover effect on the shapes, so I added versions of them with glow (typically easier and cheaper than doing glow programatically).

Now, since the shapes can rotate in-game, I needed some kind of dynamic lighting (hence the flatness of the source texture – no lighting baked in). I felt this was a pretty important aspect of the game, so I did my duty and implemented a 2d lighting shader that used normal maps:


Normal map for the shapes

Normal map for the shapes


And how they look in-game:




I’m not terribly satisfied with the final look (I should have used a more representative wood image), but the extra effort in implementing the custom shader was worth it.


The character

Character animation is hard (for me). I didn’t think I would be able to come up with a good-looking walk cycle, let alone even a static sprite/model that fit in with the forest scene. So I decided to think outside of the box a bit.

I took a drawing course a few years back, and I remember a lot of my drawings having kind of a scratchy, messy ethereal look. I decided it wouldn’t be hard to make some scratches that looked like a humanoid form. Better yet, I could leverage a walking cycle for a stick figure to help me draw the right forms.

Using that (and my iPad as a light table to help with tracing), I was able to draw this kind of stuff:



I scanned it in, adjusted light levels and other assorted processing,  assembled the parts into a spritesheet and imported it into Unity and generated a 2d animation:


Hand-drawn walk cycle

Hand-drawn walk cycle


For the jump and idle states, I just did 2-frame animations to save time. If I’d had more time I would have make separate walking and running animations too.

Doors and switches

Does this look familiar?


Shelf fungus was used for the doors and switches.

Shelf fungus was used for the doors and switches.


If you’ve played the game, you may have noticed that the fungus in that picture looks a lot like the doors and switches:




Again, these were processed in Photoshop to make the lighting consistent with their orientations in-game.

I wanted to have the door incorporated into some structure that make it feel more like a door, but I didn’t have time. I also struggled a bit with the physics here, and I bet I have some bugs because of this (the door can come down on top of the shapes and push them out of the way).


Door and switch

Door and switch


Shape spawners

The final game mechanic didn’t get implemented until mid-way through the second day. As I was designing levels I realized it was frustrating to keep having to reset the entire level when a shape ended up rolling off to somewhere where it could no longer be used. There’s generally no way to move a shape upward (something I would fix if I had time to implement more mechanics, maybe).

I can associate a shape with an optional spawner. Then when the shape “dies” (when it rolls off the screen), it will get respawned at its original position.

In general though, this behavior isn’t very well thought out. It doesn’t avoid the need to reset a level – a shape can still end up in a “dead end” without dying. And there are some subtle issues that arise when a shape has been “shifted” before it dies. What shape should it respawn as? I have to take the “held shape” into consideration. I attempt to keep the shape distribution even (as that’s a puzzle constraint), but it’s not always possible to do that. So there are some flaws here.

At any rate, this is about art. The shape spawner looks like a tree. It’s source image is a rock with moss on it (turned purpleish, for the bush part), and a real tree trunk for the trunk. Originally I was going to go for some kind of cannon, but I failed at drawing that. So instead I figured shapes could drop out of a tree.


The spawning bush.

The spawning bush.


The original patch of moss used for the above:





The bottom of the screen is lined with spikes that kill the player or the shapes. Where do they come from? A photo I took of a Devil’s Club plant, which has a very spiny stalk:



The texture I created from this that is used in game:




Dust motes

What forest would be complete without bits of dust and pollen floating around? Ideally I’d have some sunshafts and dappled light flickering on things, but hey, this is 48 hours.

The dust motes were simply a little blob texture created in Photoshop. I have a script in Unity that creates a number of these and sends them off in random directions. They fade in, move around for a bit, then fade out. Maybe 20 minutes or so of work to make, and they help a lot with the atmosphere:



The title sequence

A good title screen is important to set expectations of quality and polish. I stopped designing levels with 2 hours left in the competition, and devoted that remaining 2 hours to the title and ending screens.

For the title, I did what I had been doing all along – which was draw some stuff on paper and scan it in. Scratchy letters to go along with the theme (I actually used no fonts in the game at all!).




When I did this, I realized that the “I” in Foreshift (a portmanteau of forest and shift) looked a lot like the character idle animation. So I left it out of the texture and just plopped the character there in game. Now my title would be dynamic! He (or she) is standing on an invisible platform which disappears when you press any key. That causes the character to drop down (transitioning to a jump animation state) and land on a platform, whereupon I direct him/her to the right. As you saw at the beginning of this post:





I like composing music (though I’m not very good at it), but I find it extremely time-consuming. As a result, I used no music in the game at all. I was going to try to record a few chord progressions on my keyboard for “winning a level”, but I ended up not having time at the end.

However, I did put a lot of effort into sound effects. I’ll describe what I ended up using for various effects.

The ambient background noise

The airy ambient noise is just a recording from my apartment balcony. Unfortunately the birds had stopped chirping by the time I got around to recording it, so I add to add bird sounds manually.

I used sfxr to generate bird sounds. Mostly just by clicking “random” until it generated a sound that roughly approximated a chirp. I then added these to the background ambient noise in my audio editor.




Character sounds

The walking sound is me stomping on a shag carpet:



The sound the player makes when jumping used to be more of a grunt. When I finalized the look of the character, I decided I needed something more ethereal and softer. So I recorded a bunch of “huh” sounds. I recorded four variations of this:

Shape sounds

When a shape impacts something with enough velocity (either a platform or another shape), it makes a thud. This is me slapping my hand on a leather sofa.



The pop sound when you switch shapes is just me doing a mouth pop.



The circle shape makes a sound when it rolls. I’ve used a salad spinner to make rolling sounds before, but that makes more sense for a hard surface. I tried to imagine what rolling a bowling ball on the forest floor would sound like. I thought maybe leaf crinkles? I had no leaves on hand, and no time to go outside to record something, so I ended up just crumpling up a plastic bag.



Other sounds

The door opening and closing is just a drawer opening and closing. Likewise, the “win the level” sound is just a me opening a door:


The death sound (I think, I forget) is a combination of plastic bag crunching and slapping the leather couch:



What went right

I’m a lot more familiar with Unity now that I’ve been using it consistently for several months. This made it easy to get stuff up and running quickly.

I got a good amount of sleep (7 hours the first night, 4 hours the second night), so I never felt like I was running on empty. I’m not sure I could do a 3-day jam though.

I think I paced myself pretty well. I made it a goal of finishing the level design two hours before the end of the compo just to ensure I’d have enough time to put some finishing touches in. I did roughly that, and in the final hour and a half I made the finishing touches I needed:

  • Title screen – first impressions are important, so I wanted to do this well.
  • Some kind of ending when you finish the last level (just a credits screen and a button that sends you back to the start – but it’s better than nothing).
  • A refresh button that resets the level incase you get into an impossible-to-solve situation

I also made it a goal of prioritizing some of the polish before the level design, and I think that was a good idea. Most people who play/judge probably won’t get through all 7 levels. So from that perspective, it’s more important to make the beginning a smooth experience. Some examples of that are:

  • Making sure the introductory levels are clear and simple
  • Making the death and respawn a good experience. Too many jam games just have the player vanish without flair and the level gets instantly reset. This makes the game feel cheap and unprofessional. Once I realized that the player dying was going to be a thing, I put work into it: sound effects, and a dying animation. I did a similar thing for the shapes “dying” too, but not quite as well.
  • I even made a skull and crossbones appear in the player’s thought balloon when they die, and the thought balloon drifts off into space.


Death sequence

Death sequence


For the art, I think I did a good job choosing goals that were within my scope: Which was either pieces of photographs that were manipulated to give lighting, or “intentionally rough” hand drawn scanned sketches.

I’m not 100% pleased with the consistency of the art (for instance, there is a bit of a confusing dichotomy between the scratchy line art and the other stuff), but it’s not bad. I definitely took some time to make sure all the visuals fit nicely together. The forested background is probably one piece of art I’m not very pleased with (The exit door and the switch/door combo also look a bit unfinished).

During the 48 hours, I saw a lot of people (on twitter) putting up links to preliminary builds, short videos and other things. While it’s nice to keep the community updated on what you’re doing (to help inspire and posh others, say), I didn’t think that would be a good use of my time. I put up maybe one screenshot, but that’s about it. I didn’t prepare any builds for playtesting, or make any videos.

What could have gone better

Random technical issues

I did have some technical problems. I left audio until mid-way through the second day of competition, only to discover that my editing software (Sony Vegas) had suddenly started crashing on startup. I spent half an hour fixing this (finally tracking it down to a codec installed on my machine, and renaming the .dll to something else so Vegas couldn’t find it).

Test out all your tools beforehand!


I still don’t trust Unity’s WebGL build completely. What it does is super impressive, and it ended up working out fine in the end. Before the compo started, I tested out the workflow of making an html5 build and uploading it to my webserver (icefallgames.com), and that worked without issue (I was surprised!).

Chrome was flakey in running the html5 builds locally (it worked 50% of the time, maybe 75% of the time when refreshing the webpage). So I often had to upload it to my server to know if there was really an issue with the build or not.

Right at the end, I made an html5 build with a different default resolution (so that  could embed it in the competition entry page), and suddenly my main character’s texture was all messed up! I struggled with this for a while, but clearing out all the build directories and restarting Unity seemed to fix the problem. Not really sure what was going on.

Physics gameplay

When designing levels, fine-tuning the physics was more difficult than I had anticipated. I haven’t done many physics-based games. Tweak one parameter to fix a certain situation, and you break other places. This made the final push for level design take longer than I would have liked.

The jumping is also a bit buggy currently. The player sometimes catches on platform edges (you can always get out of it, but it doesn’t look good). This is one of the first platform games I’ve made, and jumping and movement is notoriously hard to get right for platformers.

Unforeseen gameplay flaws

After completing 6 of my levels, I realized there was a fundamental flaw in the gameplay. I describe this a bit in the art section about the shape spawners. In the end, it doesn’t really matter because you can always just reset the level. But it is possible that it might make the level easier to complete, depending what happens.

It was also evident with playtesting that it was very easy to get the level into an unsolvable situation. Again, the reset button (or player suicide) just resets the level, so at least I have that as an escape valve. But if this were a “real” game, I would need to address this. I’m not sure this should be listed in “what went wrong”, because I’m not sure it’s avoidable when designing a game in such a short time.


There were a few bits of polish on my list. I wanted a better “winning the level” experience (some flourish and/or music). And I wanted to juice things up with some screen shake or other effects. I really wanted to, but decided it was too risky with only 15 minutes left (which is when I got to that work item).

It also would have been nice to have time to make the levels a little more visually distinct.


Ok, I guess that’s about it! Please try my game and let me know what you think!



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