Let's Make A Game - Episode #171

Guys, we're just gonna hang out. We're gonna make games, hang out, have a good time. I got a ton of bugs to work on. And fortunately, this it it always feels really, really good. It always feels really really really Let me say it again. It always feels really really good to have a nice list a nice list of bugs. That is um pull Let me pull my chat out here. There we go. um a nice list of bugs that sort of gives you a road map for the rest of the year. Hey Jason, how you doing bud? Jason says, "The last time I was this early was nine months before my kid was born." Um but yeah, we have this really cool list of bugs. I'll show it to you in a sec. Um but we're just going to hang out. We're just going to have a good time. Uh, have a good time. By the way, huge thank you to Ron B, Kyle A. Man, this

list is getting long here. Evan S, Jesse A, Brent V, Thomas C, Steven H, Eric H, Alyssa M, Fabio S, Indra Shish, Michael Max, Thomas, and Kento. Thank you so much for joining Fulltime GameDev. Fulltime gamedev, by the way, is the sponsor of today's video. It is my course, so I'm sponsoring my own live streams and I love it. I love sponsoring my own content and I highly recommend anyone who's doing YouTube to find a way to sponsor your own content when you're not sponsored by other stuff. It's great. Helps pays the helps pay the bills and fund projects, etc., etc. But more importantly, it is an investment in your future. It's 40% off for the next 10 days and 20 hours. There's 100 seats available um less than that currently. Um, and you're going to learn not only everything I've learned in the last decade of making indie games when it comes to the technical development side of making games, whether it's Unity, GDAU, Unreal. Actually, I the let's be honest here, I use Unity, GDAU, and

Unreal are in the course, but I don't use those, but they are in the course as well. 2D and 3D are taught in the course as well. Code is caught taught in the course, but some of you have asked this. You've said, "But I want to learn how to actually sell my games." Well, that's really a huge chunk. It's like the second half of the course, which is how to turn it into actual money before you finish your game. Whether it's signing with publishers, I've signed three deals. Whether it's securing funding from Kickstarter, I've secured funding twice. Whether it's hitting the Steamfront page and actually selling your game and making money, I've hit the Steamfront page, I think, three times. Um, the list goes on and on. how to get coverage, how to get press coverage or YouTuber coverage. And also, you're going to learn 2D and 3D art taught by an actual indie game dev in the trenches making indie games. That's a pretty sweet deal. Honestly, if you want to learn how to make games and do it profitably as an indie, this is the course for you. By the way, if you're a student, let me know in the chat what

you think about the program. And uh let's uh let's jump in. Let's jump in. Let me let me see if I can shrink this down. Can I? Hang on. There we go. Welcome deathcloud games and Nema breaks code. How you doing? Come on in guys. Welcome, welcome, welcome. Hey, if that's not for you, there's also a free webinar below that teaches you how to make six figures with just a demo. Excuse me. All right, let's go ahead and take a look at our freaking huge list here today. All right, what do we have, ladies and gentlemen? Well, and some of you might be wondering, you're like, "Do I really need a list? It's just me, Thomas. I'm solo." Well, I'm solo now, too. Um, and I still use ClickUp. Granted, I don't have ClickUp Pro anymore because it's just me. Um, we've got a lot of bugs today. The first thing I want to do is give myself a schedule. Okay, so there's

just a bunch of really simple tasks here. Um, we've got chapter 1, chapter 2, chapter 3, chapter 4, and chapter 5. All of these chapters basically what this, you know, April through May, um, it's giving me a playable sort of solid build of the game. It's not perfect. There's not going to be perfect story elements. There's not perfect uh, features and functionality. Steam cloud save is not going to be in there. It's not going to be localized. Um, but uh this is just a playable pass. Okay. I've got months after this one, April through May. After May, I've got more months where um it'll be story and music and polish. But right now, it's just getting this solid playable pass where it's like, huh, that's a that's a good game. That's a decent game. All right. So, chapter one's not a lot. So, I'm going to have that due tomorrow. I'm going to get I'm giving myself deadlines

here. Chapter 2, Mermaid Palace. I'm just scrubbing through here. Let's see here. Yeah, I could probably make this do I don't think next Friday's that bad, but I would rather give myself a little bit of flexibility. Let's make it the 11th. April 11th is when I want chapter two due. So that so after tomorrow, after I finish chapter one, chapter two I'm gonna have due on April 11th. Chapter 3, Clown Casino. There's a lot. Um, I think I could give myself, And by the way, the reason I'm doing this, guys, I'm going to give

myself to the end of April for that. Um, the reason I'm doing this, guys, is because I woke up at I always wake up at 3:00 a.m. Lately, I've been uh Hey, Stone, how you doing? Lately, I've been waking up at 3:00 a.m. a little bit more frequently. Um, don't know why, but lately it's been sort of a panic about all of this stuff. Um, I I gotta get this game done. I have to get this done or I'll go crazy. I'll go absolutely insane. So, I have a specific deadline in mind. Um, and so, God willing, please Lord, save me. Lord, save me. Get me done with this stupid project. Please God, please God, please. Chapter four, foreground forest. When am I going to get that done? Well,

I think I could probably get that done miday 16 and then light speeded land, end of May, maybe we'll do the 30th actually. Yeah, the 30th. So, basically a playable pass of all chapters of the game. rock solid point A all the way to point Z is going to be end of May. I have a theory we're gonna knock it out before then. Stone Studio says, "I'm doing good. Thanks for asking. Just over here making games, too. It does not sound Tren says it does not sound like your mental health is good because of this game." Oh, my mental health is great. I'm doing just peachy. No, this is just how it is making games, guys. Uh, it's not a mental health thing. It's just and but I appreciate it. Really, I

do. It's not a mental health thing. It's just I'm ready to be done. It's kind of like senior year of college, senior year of high school. You're just like, let me freaking wrap this up. I am so tired of this. You know what I mean? I'm just tired of it. I'm tired of working on this game. I want to make a Victorian beautiful flower. Like these flowers right here are this huge reminder of what I want the next game to feel like. I want to focus on Shopan in the summer and the spring. Claude Debuse Debuse Claude Debuse Claire DeLoon Rey. But I don't know what the game is, but I know I want it to feel like that.

Um, so yeah, that's where I'm that's where I'm at mentally. I'm waiting for Unity to load, by the way. Um, Anderson Conves says, "I just put priority levels on my tasks. I don't use deadlines because I always break them. Is this a bad practice? There's no such thing as a bad practice. There's a bad practice for you. So, I couldn't tell you if it's a bad practice unless I really knew who you were and what your personality was. That would be a bad practice for me because I'd keep I I would just keep fixing stuff that was high priority and like polishing and polishing and polishing and I would never never be done. How is the performance on the latest builds? It's fine. I'd give it a C. C a C plus. Shay says good sleep matters. I don't get good sleep though. I don't know what's wrong with me. It's like uh last night I was up at 2. I said 3. It was I got up at

2:30 and um I just listened to Way of Kings for like two hours cuz I couldn't go to sleep. And I'm not even tired right now. I'm not tired. But I don't know. Um, is your next game going to be stylized or more realistic, 2D or 3D? I have two two game ideas. One of them is hyper realistic, but it's going to be small. Oh, I just got chills thinking about it. And then the second one is stylized flowery Victorian um, romanticism Claude Debbus Shopan. [Music] really relaxing spring vibes with fun ambience and smooth

platforming. Can you really call yourself a dev if you overengineer polish though? Yeah. Uh, are you into cozy games, Thomas? No, I'm into mo uh fluid games. I like I like movement and motion. A lot of people have said that uh Twisted Tower is like too bouncy uh or you could jump too high. And I'm like, that's what I want, you know? I don't I don't know what else to tell you. So, okay, let's start with the first one. Uh, chapter one, floor two needs to be baked. So, let's do that. Floor two needs to be baked. Also, the music is all wrong as well. Also, what we're going to do is we're going to go to floor one and we're going to match the music on floor one to floor two. So, floor one's music is because I have this theory. The theory is is that players don't want more music, they want less music um in both in both in two senses. The first sense is while they're exploring,

they want silence. They want they want to hear the eerie moody silence, the ticking of the clock, right? The deep the the the public domain music playing on a vinyl record. But they also want less music in the sense that it's the same song. If if there is a song that plays, it's the same one they heard in the previous level because it grounds them. Um, okay. Okay. So, what we're going to do is we're just going to go to the game music here. I'm just going to copy this game music. Um, and then I'm also going to double check something here. When it comes to the combat music, we have combat music. Yes. Okay. So, what I'm going to do is I'm going to copy this. I've reached the point in this game's development where um let's see here where I' I've given up

on files being properly named. And no, that's not a good practice at all. So, this is 160 beats per minute. I'm I'm just copying this down because I can search for this name. So, that's the combat music and the settings are right there. Um, we're going to have to do the combat music first. Okay. So, we're going to go to floor two and we're going to copy these combat settings over. Um, I'm not going to show you floor two. Not much of it. Um, but we're just going to hang out. Okay? Let's all hang out. Have a good time. I'll show it to you, I guess. I mean, what what's the point? It's not like there's millions of people watching. Um, okay. So, I'm going to copy over these music layers right here. I'm going to just copy

over the combat music is Yeah, that's a different track and we don't want that. We want the same one. Paste. Here's what here's the beauty of having a demo, guys. When you have a demo, you you just read the comments and you know what's working and then you take what's working and you just spread it throughout the game. So, if players like what the demo had to offer, I can just apply these same principles throughout the rest of the game. So, what I'm doing here is I'm going, okay, well, people really like this combat track. And so, we're going to set the values exactly the same as the demo because the demo only goes to floor one. So, if we look at these, it's 0.9 and 7. 24. I'm going to copy all this actually. Copy. Paste component as new. I'm sorry. Paste component values. Good. Nope. We want this though to be here. Good. Uh, same here. Copy. And then put it over here. Paste

component values. Good. Make sure that's there. And that's it, guys. So, the combat music is good to go on this floor. What is combat music? It's the It's the music that starts to swell and play if four enemies minimum are following the player. In this case, it's actually two and then it goes to four. I'm actually going to change this um from Nope. We're going to keep it. People like the demo, so we're not going to change anything. Let's double check the combat music here. Good. That's correct. That's correct. Awesome. Um, next up is the exploring music. Now, the exploring music in this game is actually it's essentially a 3D audio source. Um, so it's different in that it's not always playing and it doesn't just fade to combat music when enemies are following you. Instead, it's it's little locations where the music fades in. And so, it's almost 3D audio. Um, okay. So, go back to floor one and

I'm going to find the exact track and the exact values. So, I'm going to basically copy over the 3D game music. And I've also got public domain music that I want to play as well. So, we're going to go to floor two here. Now, floor 2's music is basically done. Let me show it to you guys. The way that I'm I'm not using FOD. I'm just that fog. I wish I could just disable it. Okay. So, watch this. If if I bake the lights, you're going to see that the level actually goes a lot f um I can I can move around the level a lot faster in the scene view. So, I'm going to go ahead and bake the lights. Um but let's let's look at this music really quick once this is done here. Okay. So, if I paste in that new game music, this one right here, we have the intro area. So, it's right there. You can see it right there. So, when I enter this area, you're going to hear public domain

music. Um, so what is that music on the other floor? I think it's Yeah, it's from Steamboat Willie. So, I'm going to bring that over here. Okay. Um, what about the game music areas? It's a song called Floor One, Twisted Tower, Horror Ambience 2. So, we're going to drag that in as well. Looks like the lighting is getting reset perhaps. No. Did it finish? It did finish. Okay. Um, we're going to drag that in as well. So, it's that one right here. So, I'm just going to drag it in here. I promise this will make sense. Um, crap, I lost it. I think it was this one. So, you can see here we have this. This plays uh when you're in the actual game. I'm sorry. When you get out of the introduction of the level, once you get here, it'll start to play. And I'll show you guys how it

works. So, that track, I think it was this one. Good. Uh, all those other public domain tracks, they need to be Steamboat Willie as well. Oops. [Music] Yeah, that'll do. Okay. Are you adding any popups so content creators know the music is all copyright free? That's a great idea. Um, but that and it is very important. Um, I should probably do that, shouldn't I? I should. All music in this game is written by the developer or copyright free. Um, okay. So, overall guys, I think that

that's Let's double check the uh game music area. Yep, it's right there. This is the song. It's a really cool song written by Chris Pelzos. I usually, I'll be completely honest with you guys, I want to write the music for this game so badly, but but um I just can't find the time. I keep trying and I can't find the time. All right, so what we want to do is we want to think, okay, what are some areas that would be really good to play like spooky music? Well, let's see here. that hall would be cool because you really don't want this music playing all the time. Um, you really don't. So, what we could do is we could do like right here

is game music and then right here and here are public domain tracks. So, let's decrease its uh its distance. Oops. So the way I've written this code for this audio is that if you get within the context of the 3D audio range um it'll it'll fade it in. It's not actually 3D. It it behaves as 2D. Um it switches to 2D but it still remembers its spatial it its range. Kind of strange, I know. Um, I actually think Let's think here. I think once they get about

here, we want to begin playing those tracks. But there's also an upstairs apartment area that we want the the No, we don't want the music playing there. That's great, Thomas. That's a really good idea, buddy. Thanks, man. Basically, what we're gonna do is it really helps to do isometric mode, by the way. Um, we're going to do a big wide game music, and it plays right here, but once you go upstairs, it's going to go back to this music here. Okay. So, if we take I can actually just delete the public domain music entirely. And I have this little object called intro game music. It's it's just public domain. Steamboat Willie music. But basically what we could do is if we look at it from the side, we could see, okay, so the player's going to be able to go, if I press F here, the player's going to be able to walk all over this area and get the Steamboat Willie song. That's

perfect. Yeah, just like that. And then the game music, we're going to fade it out a little. We're gonna actually make it bigger. Make it much much wider. But if we move it like that, it's sort of a flat line here. Obviously, we could use something like Volutric audio um that uses cubes, but this is fine. Bethesda always starts their games with the music, so it sets the tone of the game. Cool. Okay. Um, there we go. Nope. The way we want to start this game is we want to start with silence. I'll show you. We're going to see if this works. Let's double check here. Make sure that that's Yep. Musical play there. Musical play there as well.

Yeah, that's that's perfect place to start honestly. And then the that will play that should behave as 3D. Let's double check. Yes. Good. Okay. So, you'll barely hear it over here, which is awesome. That's what we want. Um, how's the reverb zone? It's good. Uh, what about the lighting? It's zero indirect and one albido boost. That's good. Uh, what about occlusion culling? Yep, that's all set. So, let's enter game mode and take a look at and what we're what we're really studying here is we're we're looking at and hopefully you guys can learn a little bit here. I'm not perfect, but hopefully you'll learn about how ambience just ambience helps helps a game so much. Oh, start start the development of the game, not the player starting in the game. Is that what you meant? Okay.

So, let's hear it. [Music] [Music] That might be a really good moment to say like, "Hey, Epher," something like that. But we have time to do that task. We're not working on that task right now. Stay focused on each task. So far so good. That ambience is perfect. Okay, so that's a glitch there.

We We need to fix that one. Okay. How's the music fading out? Good. I think we need to change the the max enemies. Okay. So, great. Now the music is starting. See? [Music] Okay, we don't have light probes. Yeah, we need light

probes. Yeah, there's Oh, I don't think there's a reflection probe. No, we have a light probe issue. Yep. But this is great, guys. Seriously. Um, I'm going to go to floor one and floor two and I'm going to officially make the call that we want the combat music to only start when four enemies are following, not five. So, it's sort of a a change of what the demo has to offer. But, I did notice that when I was playing the demo, I thought, man, you know, that combat music starts playing too soon. So, I'm going to set it to three. Max enemies for minimum volume four. And then this one is four to Yeah. I mean, I'm going to set that at five. There we go. So, just moving it up by one. So, you just you really need uh three enemies to follow you if you're going to get

music. At first, I thought these quick cutscenes weren't needed, but now, after having some people play my game, I 100% understand why you have that. Cutcenes are the such a great tool for lowbudget games. They're really easy to make. You can just do a narrative drop and then the player feels like they're in a world. Um it I'm I'm considering doing cutcenes between every chapter. Um it they're they're almost like boss battles kind of. They're just a they're a beat. A boss battle is a beat and a cut scene is a beat. If you could have both, even better. But um yeah, that's sad. You said the giraffe's projectile went through the pillar. It's a glitch we're going to work on. Okay, moving on. Um what was I doing? Ah, yes. We're going to go to

the explore music stack. So, it's called music layers. And we have two layers of combat music. We're going to go three to five and then we're going to do five to a thousand. So those are the two layer uh combat music stacks. Although I don't really see the Oh, I see. So combat music one is just a little bit loud. Combat music 2 is like 0.9. It's almost at full volume. So it's just two layers of volumes basically, which is a really hacky way to do it. But okay. So, did you guys see kind of what we did there with the ambience and the music? Less is more in my opinion. Just have one little area that has music playing. Um, but I I found with these levels, for the most part, having just distant public domain sounds playing is really unsettling. Okay, we can clear that task

out. Um, let's let's actually go to God bless me. Uh, let's go to floor two here and double check the bake. My theory is there's not a lot that baked and I don't know why. So, let's go to the game. Excuse me. And take a look. You could tell if something's been baked or not, guys. If you see normal maps, that's real time. Like it's it's pretty straightforward. Also, light probes. We don't even have light probes. So, let's go to our light probe group. Um, edit light probes. Select all. Yeah, our light probes are all effed up. Look at this. This is all wrong. So, watch this. We're going to go to tools.

Uh, we're gonna first delete all of them. Now, those are ones that are connected to doors. Why did they not bake, though? I'm not sure. But let's generate light probes to uh window, generate light probes. Drag in the object we want the light probes to generate onto. This will take a while. Um, let's go ahead and take a look at our uh tasks, though, and clear them out. By the way, those of you just joining us, just remember you can join Fulltime GameDev for the next 10 days at the spring sale discount, which is 40% off. This is a really, really big discount. Um, I do this probably every season. I'll do some kind of sale like this one. This one you get 2D and 3D Pro completely free. Um, when you purchase the course, join 4,500 students worldwide. Learn how to sell your games. Learn how to hit the Steamfront page. Learn how to get people to write articles about your game. Learn how to make a game in GDAU, Unity, or Unreal,

2D or 3D, take your pick. Learn how to do beautiful art. The list goes on. It's massive. It's a huge course taught by an actual indie game dev. And hey, some of my students even went full-time, which is really cool, including Chris Bart, Everflux, and I'll give you a shout out tomorrow in the live stream. Okay. Uh, what are we going to do here? Level Music. Knock that out. See how that good that feels, guys. Lists are your best friend. One of the one of the I would say one of the primary drivers of anxiety for me, I'll just speak for me, but this might be true for you. One of the primary um uh drivers is basically you don't really know where the finish line is and you don't really know what you have to do. So, it almost feels infinitely heavy. Uh especially with games. So, putting it all on a list and knowing, okay, as long as I just keep making my way through this list, I'll have a pretty solid uh product at the end of

the process. All right, coffee's cold, but who cares? Jump scare for two for the ducks around the corner. I think that would be great. Enemies can shoot at Ticklin Tommy pickup and bullets don't go through it. That's a problem. Remove knife when walker dies. Okay, but let's go ahead and take a look at our light probes. Okay, our light probes are officially generated. So, you can see them now. Does anyone know what just happened? These light probes are being placed on what? What do you think the light probes are being placed on? And it's an auto light probe generator. What are those being placed on? Does anyone know? Let's also look at our reflection probe. I feel like we have an issue with our reflection

probe. It's really dark. But it doesn't look horrible. Yes, the nav mesh. Good. It finds the nav mesh and it places light probes on the nav mesh. Um because that's where most dynamic objects are going to be. And that's light probes affect dynamic objects uh after a bake. So we have a reflection probe and it sort of wraps the whole level. So, I mean, we should be seeing I don't see why some of the enemies are like just black. Let's see how many uh Let's take a look at our lighting

here. I want to see how many lights are in the scene. How many real-time lights? Okay. So, we have a ton of uh we have way more real-time lights than we do mixed lights or baked lights. No, no, no, that's not true. Okay, it's about 50/50, which I think every level in the in the game is 50/50. You've got some real time and you've got some baked. We might have to do more baked, but and I'm I'm going to take a guess. We might need to do an a albido boost, but we're not going to do an albido boost, which is right here. Let's go ahead and generate the lighting. Um, and hopefully the characters aren't going to be black now, because that would be weird now that we have correct um, light

probes. Are we bug fixing the whole game? Yep. For the next two months, it's going to be going through every single level. I played through the whole game yesterday and today and it was crazy because it's like there's a lot of it that's good and then there's a lot of it where it's like I can't even progress because something is so bad. Um, and that's why it's important to play through your game. Just play through the whole thing and you'll you'll experience all of the issues that your players will. Um, okay. So, let's double check and see what happened here. Are there any things that are just black? So you can see here you can always tell when something's using a um when something's baked versus or when when a light is real time. You could tell that this is real time. Who knows how you can tell this is a real-time light. Does anyone know? The way I can tell that this is a real time light is you could see the normal map and you can see the metallic really well. And so this is mixed. So it's it's

real time, but it bakes the indirect. So you can see some indirect there. This room here, believe there's a real time in here that's baked. Okay, good. So we're getting some reflection probe data. Um, yeah, this one's baked right here. The bake is going to look muddy because I'm using two tles. And I'm super grateful to Felipe because he he I sort of gave him a guide book on what I wanted all the lights to look like for the bake and he went through every level. Yeah, you could tell that there's some I think that's real time, but this is baked. So, do we have issues with black enemies? That's black, but no. Okay, we're good there. Um, that's good. That's good. I haven't found a single black enemy. Okay. So, yeah, I think we're good,

guys. That is strange. What What's going on there? I think it's because this is uh I think that's real time. Let's double check. Oh, it's mixed. It really shouldn't be mixed, you know, but okay, it's fine for now. We'll we'll go in and make things more baked and and reduce the amount of real-time lights if necessary. Um, but yeah, the lighting I it looks fine. It's not my And the thing is is that when you bake lights, unless you're like a hardcore professional and you've got a ton of team members making it look amazing, it's going to look me. It's going to look me. Um, I'm gonna actually set these to complete. No, that's that's fine. Um, enemies can shoot at the tickling Tommy pickup and bullets will stop. Um, so let's go to the tickling Tommy. So it's called pickup automatic. There it

is. Why are there three pickups? What's that? Oh, that's ammo. Okay. Weird. So, the bullets are hitting this sphere here, which is the standing pickup trigger, which is set to a default layer, but it's a trigger. And so, we want Wow. So, enemies can shoot at pickup sphere colliders. Um, and they'll they'll stop based on getting hit. So, if this enemy shoots at me and it hits that sphere collider, it'll stop, which is not good. Um, so let's go ahead and figure out what we can do here. Let's go to our projectile script.

And I think all we need to do is just say, look, if it's a if it's a trigger, we might need to keep the trigger script in there. I think there's a non-trigger enter script in there. Would I do 3D after this game? No. I'm I think I'm really really I think I might be ready to go 2D. I think I'm ready to go back to 2D. Um, okay. Here's the impact. There should be an ont trigger enter. Yeah, there we go. Okay. So, I think all we got to do is this. Don't do anything if it's hitting a

standing pickup trigger. So if call.get component standing pickup break, right? Is it break? No. Yeah, break. Is it break or is it return? Yeah, it's return. Thomas, you're so dumb. Uh, yeah, let's try this. So, what we're what we're going to be looking for is when we enter this room, if the guy with the pistol, if his bullets are not passing through this, it's still not working. clear the save data. And

um I think we can just spawn ourselves over here. I thought I cleared the save data. [Music] This looks so good though. I love it. Flee did so good. I'm I'm so tempted to make this game tune shaded. I've been tempted for three years to make it toune shaded, but I know people won't like that. 3D is definitely a scope creep issue for sure. Okay, so this enemy should see me. No. Okay. Well, this is the right side path. Let me turn it on. It's not loaded. Right side

entrance. No, it's not that hub. No. Right side hall. What? Nope. Which one is it? Nope. What am I on the left side? to me. You can always tell, guys. You can always tell when there's a there's baked light in light

probes when you could see that there's no um when it with dynamic objects, you can always tell because you'll see enemies that look flat and even this gun kind of looks flat. I'm there's a lot of light uh light probe information going on right here. It's not directional. Crap. Why is that stopping? Hang on. How do you know my friends haven't been writing to me? Really, it shouldn't be. They shouldn't

be stopping with anything that we need to do a bunch of else ifs here. Honestly, if it's a damageable entity, do this. Okay, hold on. What? What's the point of this? I don't see the point of this at all. Oh, we're finding the damageable entity. Okay.

Okay, good. So, if it's a damage entity, do a collision. If it's a player, do a collision. Otherwise, no, don't collide. Right? If it's a trigger, we really don't want it to collide. Let's double check. Do I have any um on collision enter? Yeah. So, why am I Why do I even have this here? You know, why is this even here? It shouldn't be colliding with triggers unless that trigger is the player or a damageable entity. Okay. Yeah, I feel like that's gonna work. I do. Um, let's try that, guys. That was weird. So, his bullets are hitting the

walls or hitting the the triggers where the doors are. Okay, let's try this again. It's crazy that I shipped the demo this way. Let's just start here at the beginning and hopefully hopefully we get some cool uh results. [Music]

projectile. Ready? Oh crap, it works. What about these balloons? Ow. Sweet. I smell spaghetti. So, I don't know. You know, I think that's going to be okay. Gordon.

Do you think the bugs are there due to different programmers working on the same mechanics? Yes. I mean, sure. I think the bugs are probably there because of Gordon. Um, but no, the truth I'm I'm joking. The truth is is that the bugs are there because the bugs are there. Okay. You know what I mean? The bugs are there because the bugs are there. I'm going to just do one more test to be absolutely effing sure that that bullet is not colliding with the standing trigger. Gordon says, "We went over this. I only write the good code. What's your method to test a prototype and validate if a game is fun?

Uh, test it with a sample size of people who are friends, family, people who care about you. You don't want to test it with friends who don't care about you. You don't want to test it with friends who want you to suffer. And yes, those exist. They actually do. How many of you can think of friends and family who want you to suffer? um and who want to critique you and who want you to fail. Don't test it with those people. Test it with friends and family who like genuinely want to see you succeed but are honest. Then you also want to test with gamers who like these kind of games. If they don't like these kind of games, don't test with them. Just don't do it. There's no reason. Um it's just you're just going to suffer more. Yeah, Gordon's right. They do really need to be fully honest. Tuck says, "What are friends?" Jason says, "I'll make you suffer. I'm that friend." The truth is though, Jason, you are the friend who really wants me to succeed. And so, your feedback was

incredible and really, really helpful. Let's just bring ourselves over here. Hopefully, the right side will be open to us. It is good. [Music] I actually want these lights to turn on and then to do some sort of cinematic moment there. No, we got a lot to do. Oh, Thomas, you dumb effer. Why am I Oh, don't max out. That's the problem, bro. Don't max out. I'm getting I'm I'm giving myself all of the weapons and this weapon isn't appearing. Okay, so this guy is inside of the right side entrance. So, all we

got to do at this point, guys, is just go back to play mode. Hey, Dragon, how are you? Okay, so there it is. Let's turn it on and watch what happens. Good. Hey guys, I have a tip for you that I've I learned. The difference this is this is what's so difficult about gamedev. The difference between a great game and a really bad game is potentially a month of polish. And that's so frustrating because you might hear game developers and veterans say, "Look, don't put lipstick on a pig or Thomas, do you know

about sunk sunk cost fallacy?" Blah blah blah blah blah blah blah blah blah. They were saying people were saying that to me about the demo last year in May. Like, I don't know, you know, do we do we do we really do you really want to polish this up? And it's like, is it worth it? And all I needed was like three months to just polish the crap out of it. So this the chapter 2, three, four, and five of this game are kind of mediocre. They're not great, but I know what I did to chapter one. And all I need to do is just go in and polish it. Okay, that's fixed. You guys want to go ahead and knock this out? So enemies can shoot at the tickling Tommy pickup and bullets don't go through. This actually causes solves a lot of problems. Uh, we need a jump scare sound for the duck around the corner. So, there is a duck right here. Um, I believe he's up here. Yes, this one. So, the way we do jump scares, pretty straightforward. All we do is we change the awake

sound to a jump scare sound. Yeah, you can't polish it. You can't you can't you can't polish a turd. You're assuming that that I've actually learned it. I I believed that last year. I don't believe that anymore because you don't know what a turd is until you polish it. That's it's a it's a catch 22. You don't know if it's a turd until you polish it and find out, yeah, it's a turd. Um sometimes sometimes it's not a turd. It's a diamond that needed to be polished. You don't know. All right. What I'm going to do is I'm actually going to just copy over from what floor one had. Floor one has a really cool jump scare that is it seems to get everybody who plays the demo. So, I'm going to go find that walker shotgun. I'm going to find where

his jump scare is or what values he's using. Yep, this one. So, this guy here, he's using some cool jump scare sounds. There it is. It's called duck jump scare, and it's a volume of one. Pretty straightforward. Um, so I'm just going to use that one over again. And guys, you'll notice that games, especially games from the early 2000s, which we're trying to replicate here, they they reused jump scares and they reused jump scare sounds. So, it's totally fine. So, is there a is there a duck somewhere around the corner here? Um, let's see. No, there's none here. So, there's not really a jump scare opportunity on the right side here. And this is Yeah, this is the right side path. There's two paths you can take for this level.

So, I wish there was a jump scare here that we could use. I think there is. No, he's not in there. I think he's in here. There he is. So, what I'm going to do is I'm going to position him around a corner here. I love another thing that I was told by uh some people is Thomas, don't put enemies around corners. It feels bad. It feels cheap. Yet, I'll watch streamers play and they have a blast with that. They love it. Make sure he's on a nav mesh. He's not. So, we need to re-ake the nav mesh. Um, I'm gonna gonna get rid of this bed. Actually, just move that over here just so there's plenty of

room for the jump scare to occur because I don't want the player to fully see the shadow. Yeah. So, the player will just walk through here and right there. So, let's do duck. I I I I I had a great conversation with Thomas Maler. I don't know if you guys watched the podcast with him, but that posted uh yesterday. The full one drops tomorrow. And um here it is. Duck jump scare. But he was just talking to me about how it's just really frustrating how everybody has a right way to do things. And I totally agree with him. Um it can really it can really make people uh have analysis paralysis. There's our nav mesh surface.

We're just going to clear and then bake. And now we have a nice little nav mesh for our jump scare duck. Okay, these are super loud. I know that I want to make these more quiet, but I think that's another task. It's probably not actually. So, let me open it up here. They're super loud. So, let's go to this and do 04. Actually, let's do a a max distance. Actually, let's do 20. That way, you can barely hear them. Only when you're super near them. That rhymed. All right, Tuck Max. Sounds good. You like Did you like it, Darl? Um, okay. So, we got one jump scare on the right side. See the thing about this game is there's there every most levels have multiple paths and so I

have to basically ensure that the player's experience is uh so they get the same sort of excitement on both sides. Um you really don't want to vary it too much. Uh so right over here I have to do the same thing with this duck. You know what I found out about this game is um the enemy enemy AI really does not function well in open spaces. Um and so there's there's certain chapters of this game where it's it's not great with open spaces. So I have to go in and solve that problem for chapter four and five. But when they're around corners like this, it's really fun. All right, we'll do a duck jump scare here. This one. So, if you want to hear

what the sound sounds like, guys, this is what it sounds like here, right? Um, do you want to test it? We can go ahead test it. Did you ask Thomas whether he's using a custom license for Unity? No, I didn't. I really like Thomas Mer a lot. Um, I found that the people who have really spicy takes on Twitter tend to be the nicest guys. Okay, so let's go down here. There they are. And let's hear this sound. Uh, so they're going to be looking up

here. Oh crap. I want to be able to break that glass. So, we're going to I think we're going to do it. No, we're fine. We're not going to set that up. We only have these. We We're going to have a nice little Hopefully, we'll have a nice month of polish. But hey guys, we just got the jump scare done. Add a truly unique and storydriven jump jump scare to the upstairs area. Holy crap, I'm about to get all this done. I need more coffee. remove knife from Walker when he dies. Why are we doing that, guys? Does anyone know? Because players are like, I don't want the hammer. I want the knife. And they see this knife. Uh, so what we're going to

do, we need to delete these. Um, that's an optimization issue I didn't think about. Anyway, on death, you can see here, deactivate object on death. I'm going to deactivate the knife on death. Okay, here we go. Well, if we delete them, Gordon, um I'm worried that this because this is the root enemy. I'm worried that all those meshes will delete all the other enemies and the game's not done yet. So, it's kind of like rasterizing art. I'm not

ready to rasterize it just yet. All right. So, that'll do. Uh, pistol enemy. Let's double check him. Deactivate his gun. Good. I know for a fact we can we can just go ahead and clear out another task. Walker chain gun or walker machine gun. We need his to disable. Yeah. So, like this character Gordon is a root or his root is the teddy. And so I'm worried that if I delete all the armor, all the graphics um but these delete on awake. That's the thing. Um but I you you really don't want to delete things on a wake like that. Like that's a ton. Like if we've got, let's say, 30 enemies in a in a scene and we load it, you're going to have

basically a hundred different things getting destroyed at once. Um, so maybe I can what I can do is make the walker. We're close, but I'm going to add that to my list so I don't forget. That's going to be in my functionality month where I do story and final features. I'm gonna go to um I'm going to create a new one here called cleanup. I can't show it to you because it's like launch week, but I'm going to go to clean up and then I'm going to say destroy all meshes inside uh enemies that are unnecessary. This is especially a problem if you're loading enemies into the scene. You're going to have all these meshes on using destroy. Okay.

Um, so I'm going to go ahead and deactivate his automatic. What is that? That's nothing. So that's why it wasn't deleting because it's it was a blank object. So that gets destroyed when he dies. What's the plan to break them out as their own prefab? Yeah. So I'd right click here and I would go prefab unpack. That way he's not um linked to the base enemy type. Yeah, it is a big optimization issue. But I'm not ready to rasterize just yet. Okay, by the way, those of you just joining us, just remember to check out Fulltime GameDev below. It's 40% off for the spring sale. There's less than 100 seats available. Actually, less than 90 seats available. Um, I'll shout you out in tomorrow's live stream. You're going to learn everything I've learned in the last decade if learning from an actual

indie game developer who's making indie games and has been published three times, has had two successful Kickstarter campaigns. Um, if that's something you're interested in, um, then you can learn from me. Click the link below, 40% off, and you also get 2D Art Pro and 3D Art Pro completely free, which are my art programs. The cool thing about my programs is I I I focus specifically on indie. Like, how do you make money as an indie? How do you make art as an indie? How do you not get bogged down with all the unnecessary information that you don't really need to know? Um, okay. Well, that's already fixed. So, I'm going to go ahead and just uh let's see here. Add a truly unique storydriven jump scare to the upstairs area. Why the upstairs area? Because it's an area where both paths merge. And so, if I'm going to make something truly unique and special in that area, um I don't have to do it twice. So, it's in an area that is not a unique path. Um

renew remove knife from walker. Good. Chapter two. Okay, we're not going to move on to chapter two. Okay, so let's we need to brainstorm here. What's a truly unique and story driven jump scare um in the upstairs area, right? I'm going to try and answer Horror Lakes's question here. Uh Horror Lake said, "Hey, Thomas, could you speak to your favorite?" And by the way, let me know if I'm peeking, guys. Um or clipping the audio. I I've got it on safe mode, so I'm talking loud and I realized I might be peeking. Hey Thomas, can you speak to your favorite tips or methods on establishing a pace to the

story? I was just about to talk about this, but I'll answer it here. Also, at what point do you determine an adequate play time to shoot for? I playtime I don't think about. Um, it's not something I I really care about. I've noticed I get empty canvas syndrome. Well, the only way, and I think I understand what you're saying, horror, the only way that I establish a good pace for my game story, I guess, aka where the beats are, um, I just feel it. And who knows if I'm good at this, but the demo, the demo, people seem to really like the demo of the game, and it's like, so I think I understand how to do this. How did I know, for example, that I need a storydriven jump scare in the upstairs area? Well, I chose an area where it would be easy to do, but um

because it's it's uh it's not a unique location, the player has to go through that area, so they're going to get a jump scare story moment. Um but also they uh um I just felt I just feel it. I just I was playing the demo yesterday or the game yesterday and I thought, you know what? Right here, right when I go up these stairs is a good spot to do some kind of jump scare story moment. So, we need a story moment right here in this room. So, what I'm going to do is I'm going to create it's going to be something like a

trapoor. What I want to do is have um how big is this piece? Yeah, I want the player to fall through this. It needs to be cheap though. What if we did like a cool visual here? of like an enemy standing there and it breaks. We need to brainstorm this. Okay, let's keep going. We got a bathroom here. Maybe

this light turns on and there's like a big message on the walls. Like a bloody message right there. Yeah, I think I'm okay doing that. I mean, it's it's pretty simple to do. Um, this one you really don't need this many lights. Um, this I want to do real time. And we're going to clear this out. We're going to clear the bake data. This has to be real time. Why? Because I'm going to turn this on. Because what I want is I

want Why do I have baked data right there? What's going on? What is that? Oh, that's that. I see it's the um the window lighting. So this So this whole thing, guys, I'm going to walk in here and it's going to turn on like that. And what I'm going to do is I'm going to have giggling sounds and they're going to come from behind right here and they'll attack me from behind. Does that sound fun? What do we think? So I see a dark room just like this. I enter it and the trigger will happen right here. The light will turn on and um enemies will come from behind.

So, let's do that. Let's create a cool little trigger zone here. So, we have this window. Let's see if we can also collect our enemies. What is this? Okay, there's one walker. So, all three of these walkers here, I want to uh group them together. So, these are walker red room walkers to spawn. And I'm going to group them with the window or just put them near each other.

Okay. So, both of these we can call it red room jump scare sequence. Jump square. Jump scare sequence. Um, yeah, this will be cool. Now, the red room, what I want to do is brighten it a little bit, make it really nauseating almost. So, we'll crank up the intensity like this. Uh, shadows are on, so that's good. It's like buzzing. And I kind of feel like we want to have a neon light or something. Um, I'm going to have the giraffe

spawn. Oh, that would be cool. if they're like all three around you, it's like, "Oh crap." So, what we're going to do is we're going to see how it feels. It's not hard to do this, by the way. Um, and they're all going to be asleep as well. And we'll do this one. We'll do behind you. Oops. These kind of sequences, guys, they add a ton of value to your game. Um, most games, especially indie games, they're just a straight up boring loop. Not boring, but just a a pretty standard loop over and over and over again, right? And um, in this

case, oh man, no, they you really need it to happen like right here. Right here. So, in order for the to Okay. Yeah. Okay. I've got it. I've got it. So, I want the player to see them. Was I talking about something else, though? I think I was. Yeah. So, he'll be like right there. So, as long as I have like a box collider right here, I'll hit it and then I'll see all three get up from the ground, right? Yeah, it's like dropping into a pit pit of snakes. I think this will be really cool. Um, by the way, what we need to do here is all of this. So, for example, this light here, this window lighting, um, I'm going to disable that. You'll notice that,

um, where's that light coming from? Is that this Yeah, we're going to turn off the ambient light and the ambient color here. I want this light to just be a subtle flickering light when I walk in this room. So, we're going to have it on. See that? And it's going to be so freaking subtle. We need something and we need it to be indicating where the player needs to go. So like there's a platform here, right? Really subtle. Reduce the range just so the player can barely see. That was a great idea, whoever mentioned it. So there's a platform here we know we need to jump on, right?

And I'm going to have it flicker. This needs to be real time. Uh, and we're going to add a little flicker to it. Subtle and constant. Okay. So, I walk in here and I see that little flickering light. I'm not going to see any of the enemies and I'm okay with that. Um, this game kind of feels like a psychological horror game. Um, now I won't say whether it is or not, but it feels like one. Let's see here. Gordon, if you're still in the chat, get rid of the the beast. You can ban him forever. Um, whoever, if there's a mod in the chat, you could ban him forever. The I think it's the

beast. Yeah. Um, okay. So, we need a trigger. So, an object activation trigger. Thanks, Gordon. And I'm going to take this object activation trigger and I'm going to put it right next to I like to have everything nice and organized. So I'm going to put it right here. Oops. That's what I'm wondering. Mason. Okay. Okay. So, it's going to be right here. And it's going to be a really cool jump scare sound. I'm going to rotate it

00. And it's going to occur right. Turn off the um the lighting here. Why is that? I need to move this to 00 like this. There we go. Okay, it's right there. Thanks, Mason. So, right there it'll appear. We'll make our way towards that and then this will activate once I get into this object here. As long as it's not interfering with any other areas of the level, we should be good. You want to be really careful with these. Um, yeah. So, we don't want it to get in the way of that right there, but I think overall that's good.

Yeah. So, the player can't avoid it essentially. So, they're going to touch this trigger, and what's going to happen is is those enemies are going to appear. So, all of our red room walkers, those are going to appear. I'm not going to have them asleep, actually. There we go. Also, the window lighting will appear, right? So, it'll turn on along with our walkers. And I'm just going to make sure these are not sleeping. Now, here's the thing. I I played the the the next levels of this game this morning, and there's a lot of parts of the game where you're getting swarmed. Swarming in this game is not fun. It's such a pain in the butt. It's so unfair. My theory, don't swarm the

player with enemies. uh make the individual enemies harder towards the end of the game. So, I'm just going to make them harder. Um, but this isn't going to be that challenging. They're just walkers, but it's scary, you know. So, let's make sure they're not sleeping. Yep, there it is. Is playing Dead Walker. Turn that off. And then we need a jump scare. So, what we're going to do is we're going to create a jump scare sound. So, let's go to artless.io. Good. Soul Engine Brain says, "I feel like the game would be so much easier to make it Unreal." I mean, I don't even know. What do you guys think? I have no idea what to say to that. I want spaghetti so bad.

We're going to look for a jump scare. And then we also need giggles. And we need it to echo. It needs to be this cinematic moment. We can do so much with sound. [Music] [Music] Great. Good. I like it. We'll take that one. We're also going to take a horror [Music]

strings. That's perfect. We'll grab that one as well. We want a mixture. Here we go. Don't use artless.io, guys. They It's so expensive. And then we'll do a light flicker. Light break. It needs to be like a Um, light turn on. There we

go. We'll make a a higher pitch sound. Oops. And then we'll do a laugh. I see him. So, both of those. All of these. We're going to take all of those. Guys, I have this weird thing. I don't know what the phenomenon is called. I want to create a framework for it though. How many of you in the chat, and you don't have to feel this way, but how many of you feel like you always have to make something new and you don't want to reuse stuff you've already made? I don't know what I would call it, but like when it comes to sound, I always want to redo it and I always want

to make a new sound. And I'm like, no, just use what you have. And that actually strengthens your game. It gives it a stronger identity. [Music] There we go. Tracks. Mix and render. ADHD. Yeah. Tracks. Mix and render. And then we're going to add a little bit of a reverb effect to this one. Why am I doing a new sound effect for this one? Because with this this one, it needs to sound red. Um, I don't know how better to describe it. It just has to sound different. And I don't think I have a jump scare yet where lights turn on and you see a bunch of enemies. So, I'm not

sure if that exists yet. But, let's do a smaller room size. Pretty wet. Okay, pretty good. Let's make sure it's at -10, guys. Some of you have some incredible ideas in the chat. However, remember, we're trying to stick to a timeline and a budget here. That's why it's important to outline exactly what changes you need to make for your game, especially towards the end of the game's development, because um it gives you an idea of while you're working on something, how much time you can spend on it.

the players gotten plenty of unique experiences. Like the demo, the first two levels are packed with jump scares and and story beats. So, right now, I'm just giving a I'm just doing a little bit more. Just salting the second level because we're it doesn't need much more. And I think this one's good. As long as we give a a sense of quiet to the previous three, like the previous minute of gameplay, then this will work. You can't have a bunch of combat and then do a jump scare. So, I'm going to test this out and see if this is good enough. Sometimes it's good to let the player have a break. All right, so this is going to be called jump scare. Teddy's Teddy laughing while light turns

on. Yeah. Export that. Scope creep is such a funny idea, you know. It's frustrating. Scope creep. I don't I don't even know if I believe in it anymore. If it's fun, it's not scope creep. Like you, what did Brandon say? I've been listening to a lot of Brandon Sanderson lectures and podcasts and he he's t he talks about how you can create an outline for your game, for your not your game, for your book or your story, and you can stick to it, but at some point you have to cook. And sometimes cooking requires tasting and changing and tweaking spices. And that that some would classify that as scope creep. And it it could be, but it might not be. You know, sometimes you have to just test it out. All right. Uh, we have an activate sound, which is going to be this jump

scare. As long as it's 2D, I'm not okay. I'm I'm fine with it. And so that should play through this audio source, which is Yep. Right there. And it's set to one. It's got a reverb. We're going to do a reverb zone mix of one. It's 2D, so that's good. Um, and it should play through the SFX. Good. So, as long as I'll tell you this, we need um a state, a game state or I'm sorry, a transform state for a not a transform state, a saved object. Is that what it is? A save state. Crap. I can't remember. Object state. Crap. Um Gordon, what was it called, bud? Do you

remember? Hint cameras have it. Drop gate camera activated. Enabled state. Got it. So this uh this needs an enabled state on it and I think you can do separate objects with enabled state so it saves. Yeah, optional which object. Um we're going to do two of them. So it's going to be this one. Um and then another one. And it's got its own GUID, which is good. And that's the window lighting. So these two states will save. Um, and all I got to do is make sure I generate GUIDs. Yay. So those have their own unique GUIDs. So that's good. And these

things will turn on. Um, and then the object activate trigger. It needs its own enabled state as well. Or does it? No, it does. Yeah, it needs its own enabled state. Yeah, it's for [Music] itself. There we go. Okay, let's test this out. Um, so the idea is is you're going through this uh vent here. There's no enemies. It's kind of spooky. There's nothing going on in here. No enemies. No enemies. We've cleared out these enemies. I kind of want it to be just a quiet hall so the player can think. I am very sure about this. We're going to get rid of these

enemies. I want the player to have some time to just sit and be quiet for a minute. None of these here. None of these here. There's a point where it just gets kind of monotonous, you know. Okay. So, it's really quiet up here. They can just hear a distant public domain sound. Um, are y'all arguing about me? HFG, what's your problem, dude?

All right. Okay. Um Oh, story notes, artifacts, newspapers, things to all that. That's that's going to be in August. Um, right now, right now, it's just jump scares and like cinematic moments that aren't related to the story. And we can incorporate these story moments like these artifacts, we can actually incorporate them into the jump scare. So, if I wanted to in August, I could say, "Oh, I really like that jump scare with the red light turning on. What if there's um a big sign where it's like or

like text or blood on the wall or something?" So, that's what I'm that's what I was talking about earlier where you just got to sort of feel it out, you know. Um, but let's go ahead and enter this area up here and feel it. Okay, we're going to feel it. I'm all about just feeling a moment. All right, let's feel it. You guys want to feel it with me? Let's collect our weapons. Okay, here we are. And none of the light is baked yet, so we'll need to bake the lights. But let's go ahead and get this upper area enabled. I have to enable certain parts of the level. Luxury suites. There we go.

So, I'm just hearing spooky public domain stuff playing. Do you hear that? It's not very loud, so we might need to make that louder. These need to be flickering. So, let me write this down. Flickering lights in hall. You want to create a moment where the player's like, uhoh. Um, I think the public domain music's fine, actually. Okay, you guys ready? Let's see. Not very loud, was

it? Okay, I have an idea. Uh, it's too it's too light. Um, so we got a problem with the Why was that so quiet? It's really quiet. Where did our sound go? I was editing it. Now it's gone. Is it this one? No. Yeah, there's something wrong there. Tracks mixed down to

Okay. Uh, for one, it was um mono. So, that was one issue. I'm going to make it a wave. jump scare lights turn onwave. It was really quiet. Okay, let's let's go back to Unity here. Um, it wasn't horrible. It could be better though, for sure. Where the f is it? Hang on. There it is. So, for some reason, it was quiet

and then also I can see the room. So, it's like it's like pretty obvious that there's nothing in the room. And my theory is it's because the reflection probe. Let's bake the lights. Let's bake the lights. Um, and maybe we can remove the reflection probe from this room. You want it to be pitch black. Uh, why was it so quiet? You know, let's delete this one.

Let's hear it. Why was it so quiet? set to 2D. I think it's the reverb zone mix. We're going to zero it out. That's what it was. Um, good. Good. Okay. Okay. Next up, I kind of like the idea of using a black fader that's like right here. So, what I'm going to do, it's called fade to black.

Uh, and it has soft particles on it. And so, what you're gonna what you can do is I can actually put a quad here. Oh, this is gonna work. It's all magic tricks, guys. All of it. It's all magic tricks. Could paste it as a child against the jump scare here. Edit, paste as child. And I could put it right here. We actually don't need this here. Um, and then we're just going to do this. It's this black quad. As long as we can get it from corner to corner. Let's turn the lights on or off. What I can do is get it from corner

to corner here. This will actually be pretty interesting to see if this works. I'm interested to see if this kind of magic trick works. You can make it go up pretty high. I don't think I have an issue with this. Okay. And we just want to rotate it so it's nice. It's going from corner to corner. Just like that. Okay. Okay. And what you can do, here's my theory, is if we put our fade to black material on it, like this one, you could just cover it. So, this one here, I'm going to call this material fade to black jump scare. If I drag this on here, I can

actually change the Wait, what? Hang on. Let's do this one. Yeah. So, I just drag this here, guys. And then we want it to be like two. I think we can actually do four. And then if you set it to black, when they walk in, they won't be able to see through it. We really shouldn't be able to. I don't know why I can. I think it's just the fog. So, here's what it looks like. What's going on there?

What the f? Oh, wait. What? Okay. It has to be white. I don't know why. So look, when the player walks in, they just can't see a thing, you know, and then that'll disable the moment the lights turn on. Now, if I if I were to just get rid of the fog here, it would look really good. You just can't see a thing when the fog's turned off. just feel like there's too much fog on this level

anyway, you know? Let's reduce it. And when you uh There it is. There it is. So this is without it and this is with it. So you really can't make out what you're looking at. So hopefully that feels a little bit better. So we're going to disable that. There we go. And we're also going to put an enabled state there. And it's going to be for this black quad. It doesn't need a

collider. And we do need a new enabled state. Uh GUID. We're going to solve GUI duplication. And guys, I think that'll do it. This will disable The light will turn on with these. Ready to try it? Walk in. Boom. All right, let's see if it works. Fingers crossed. Granted, we might have some issues with baked lighting for sure, but we'll see. We'll see. But we're going to just worry about we're going to have it real time right now. So, nothing's

baked. Okay, let's open up this area. I'm going to load it in. You see why I like silence? Okay, it's nice and quiet. With baked lighting, we're going to see a little bit more here, but right now it's pretty black.

Awesome. I want him to scream. I want them to scream. Like just awful scream. [Music] [Music] I think it's good enough. All right. I think it works perfectly.

Uh, we need to make sure it saves. Um, I'm happy to to to Yeah, let's let's test out the saving really quick. I forgot to do that. You want me to do my own? Okay, hold on. So, this one here. All right, we'll do something. I'm trying to think like what would scare me if I walked into a room like a really aggressive check. One, two, and [Laughter] two. Okay, try again. What? Jeb's

scared. Okay, that's good. So, we could take that. We can have like this in initial pulse of a jump scare, but we need it to be a pitch change. Track mix and render. This needs to be pretty loud at the front end. There we go. Track mix and render. So at the front end, it's that big pop. Every time I do this kind of voice acting, Jeb snaps his jaws and he starts licking and pacing

the room. Um, okay. That sounded great. Honestly, I think that uh it's scary. It's what we needed. We needed a We definitely like these kind of tempo changes are so important. Um I honestly I think they can make or break these kind of games because like I said during the stream, chapter 2, three, and four, and five all kind of feel like a grind and it's kind of exhausting. And so you have to stop the enemies from attacking the player. You have to give the player a moment to breathe. So let's go ahead and test this out. Thomas, did you do any voices for Pinstripe or Never Song? Yeah. All right, let's try this out. You guys ready? We'll also make it so that we can save. So, I'm going to go to game manager B and say uh enable testing

inputs. Uh the save input that we can press is V and it'll save it. And then we can exit play mode and enter play mode again. So, I'm going to save. Actually, we'll save after. We also need to look at the baked lighting to see how it looks. Ready in the world. Just stepped into Okay, let's save it. Uh V, there it goes. Exit play mode. And then if I enter play mode, I should

spawn right there. Um, actually, I think I'll spawn. Yeah, there's nowhere to spawn, but let's go here. All right, let's go look. It should Okay, those are destroyed. So, that it got saved. Those are destroyed. Got saved. Good. It's all still here. So guys, that that is how jump scares are done, at least in Twisted Tower. Uh Gordon, thank you, man, because Gordon taught me sort of how to use the enabled states. AJ built that system, I believe, and then Gordon, you had to sort of learn it, and then you taught me how to use it. So that felt great. Honestly, I we really needed some kind of moment like that. Let's bake the lights, though.

This right here, this is going to be real time. I honestly feel like we only need We really need a color shift. We really do need a color shift. So, what I'm going to do is I'm going to have brown down or yellow down here and then just blue here. Okay. So, watch this, guys. I just want to show you kind of the value of actually reducing light and creating a big gradient instead um with less light. So if I turn this one off, I'm going to replace that. All of these I'm going to replace. I want this long like Stanley Kubri type hole leading up to this moment and scaring the player. You want to you want to just create this sudden shift in tone. See what happened here? So, I'm going to flicker this one. Reduce the light here. The spotlight. I don't I never like these

spotlights. Okay, there we go. Very subtle. Um, this one I'm okay with it being Yeah, we're going to make this one flicker. So, get rid of that occlusion cam. I don't need volumetrics there. I don't need any of that. All I need is a flickering effect. Actually, what kind I gonna make? We're probably going to make this one bright. It's going to be subtle and constant. Just like this. There we go. Um, so it's going to be flickering here. This one I'm going to make it turned off. And then down here, we're going to create a gradient of blue. I am always going to be more interested. I don't understand. Yeah,

there we go. I'm always more interested in cinematic lighting than realistic lighting in this game. I don't care if this makes any sense at all. It It's not something I'm interested in. What I'm interested in is does it make the player feel like there's a beat, a moment Uh, does it scare the players? Is there something unique happening? So, in this case, it's suddenly a big change of color. I don't like how this room is green and this is blue. That does bother me. Um, what lock is this? Is this a blue key? Yeah, it's a blue key. So, what I'm going to do is I'm going to make this a little bit more of a green tone. That way, this isn't so so much of a a striking shift. [Music] Um, this out like this. All right, let's see it. Let's feel it out. You guys ready? That is too dark. Here we

go. So, that to me looks a lot creepier and it sort of sets the tone. Um, I would argue it's scarier to have it flickering down there, but let's let's enter play mode. This feels great. Do you see why why it's so important, guys, to do these kind of changes? We'll make sure those are all real time. This needs to flicker as

well. Yeah, it does. Um, but it's fine. It's fine. There there's so much that you could do and I I you got to find a point where you uh you know when to quit. So that's set to baked. This one needs to be real time. Let's double check it. That's baked. We want it to be real time. [Music] Um and then what was it? This one down here. This would it would set the tone, wouldn't it? And then that one is real time. This one should be real time. Let's double check.

Ah, real time. Real time. Okay. Uh, we could bake our light now for the scene. Um, thank you, Eric. Real realism implies a realistically functioning world. This is from cyershell. Primarily great for simulations or immersive sim. realism um is totally fine uh depending on your genre. Like this game, it's supposed to feel like a fever dream. And so I'm okay with the light being I'm I'm okay with the light being um what would you call it? What's that movie?

What's the movie about the dancing studio run by witches? Susperian. Sesperia. But this has a a Susperian influence. All right. Um, let's enter play mode. Take a look. This game reminds me of Shadowman. That's awesome. I love shadow man. All right. So, for some reason that is not receiving baked lighting, which I'm not going to worry about. It doesn't look horrible. It's fine. Choose your battles, guys.

Does anyone see why this looks bad? It's just flat looking. It looks like N64, but whatever. Perks of making an indie game. All right, we're going to clear the save data. And now we're going to look at it without the lights on. Alex Spirious is an incredible film. It's one of the m best films ever made, but it's one of those ones you're only going to watch once. Um, in my opinion, all right, let's turn on the luxury area. Okay, it still looks good, dude. It looks like a shadow's being cast right there. That is such a good jump scare. Hey, who was the person who came up with that? Round of applause. One of you in the chat said, "Make them right in front of

your face." And that and it's a new jump scare, right? Uh I haven't seen I haven't done a jump scare like that in this game. So that's great. Really cool. Um we only needed one. So uh Thomas, do you have a spark of an idea for your next project? Yes, I have three and I'm so ready to begin. Hey, look guys. What just happened? We just finished the chapter one changes. We are all We are a day ahead of our schedule. Woohoo. Okay. Awesome. Awesome. Awesome. Hey, if you want a shout out in tomorrow's video live stream, feel free to check out Fulltime Gamedev below like Ron did and Kyle and Evan and Jessen and Brent. There's 4,500 students worldwide. Check it out below. You're going to get 40% off for the spring sale. Look, guys, seriously, if you want to learn how to make indie games from an actual indie game developer, someone who actually makes games. Thomas, you're a YouTuber.

I do a lot of things. I'm a YouTuber. I make games. I'm currently published by 3D Realms. Um, I've had two other previous published games on every platform. Pinstripe and Neverong, published by Apple Arcade, Serenity Forge, Armor Games. Check out Fulltime Game below. 40% off. You're also going to get my 2D and 3D art programs completely free. You're going to learn how to not only secure funding from publishers, you'll learn how to secure funding from crowdfunding as well. I've done this multiple times as well. Two times on uh crowdfunding was funded. Uh man, I lost my train of thought on Kickstarter. Uh six figures for both of them. Um the second one was like 90ome,000 with a post campaign, but still it was basically six figures. Hey, and look. Oh, does it work? Does it work? Well, Chris Stair got funded on Kickstarter. Bart Mamer got funded. Everflux got funded. Saltar found funding. Thomas found funding. Although, I think Thomas'

funding sources are different than, let's say, Barts and Chris's. But yeah, I teach you how to go full-time. That's the whole point. But how to make games as well with Unity, GDAU, or Unreal. It truly is a great investment in your future. But look, if it scares you, I get it. If it feels gimmicky, I get it. Um, there's a 30-day money back guarantee. So, if it's not something you like, just email me. And you don't even have to email me. You email my assistant and just say, "I don't I don't want this anymore." You get an instant refund. Okay? No skin off your nose. So, check it out below. I love you guys. Thanks for hanging out. That was a lot of fun. Check out the webinar below if you're not interested in joining Fulltime GameDev. This is a really sweet webinar. How to