Feel free to get in touch anytime by E-Mailing admin@healingprocessgame.com . Thanks!
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#020. Failure to Climb (video)
November 10th 2017 20:21, (Tokyo)

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Hey guys, I failed to find a ladder to climb today as an animation reference. Better luck tomorrow I guess! Follow up video coming tomorrow.



See you tomorrow!
Sam

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#019. Write What You Know (Exaggerated).
November 8th 2017 4:35pm, (Tokyo)

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Hey everyone,

Sam here again, Sam here every day.

I just wanted to tell you a little story of a dream I had two nights ago...



So I gained consciousness in this dream at the end of a Red Hot Chili Peppers concert. Me and my wife (Kou) were there, and I guess what made me realise it was a dream was that they completely messed up the end song ĎPower of Equalityí, and also there were only about 3000 people in the room so it was just so obvious. We made our way out, and the band just walked straight through the crowd as they were leaving. You know, RHCP usually plays to tens of thousands of people so it was pretty unusual.

So we were making our way out, and it was actually near my old university in London (at Russell Square). We jumped in a taxi. The taxi started going completely the wrong way, down a random street and me and Kou were just like Ďno, itís the wrong way, itís the wrong wayí. Looking back on it.. it wasnít even a taxi it was likeÖ a weird little van, like ĎDel Boyí from Only Fools and Horses would use. Anyway, so we approached this house and an old woman came out. She came out saying Ďoh hello!í, with a big smiling face. Me and Kou said Ďoh no, sorry we came here by accidentíÖ and the old lady looked really disappointed.

I looked around where she was standing and there was a little piece of art, and it said on it ĎEclipse JPí. (It was really hard to read, another telltale sign that youíre in a dream). Now, Eclipse JP is the company I made with my wife, for freelance composition and translation work here in Tokyo. I was so surprised at seeing that company name and said, ĎwhaÖ whatís that? Itís my companyís name!í. She responded, Ďoh Ė itís my husbandís flower shopís name, heís passed away now but that was the name of his companyí. It was such a weird coincidence, so I got out of this littleÖ car thing weíd been made to ride, and for some reason only I got out of the car, not the weird taxi driver or Kou. I went up to this house and looked around. It felt so weird, there were flowers everywhere and familiar yet unfamiliar objects.

What was really weird about this visit is that before having this dream I was giving my wife a massage to get to sleep. Iíd fallen asleep on the floor, ending up asleep with my hand pressed against her leg in a weird position. I was sleeping when I wasnít supposed to be as Iíve got this game to develop especially in the night-time. So this brief little visit (about a 3 minute nap) gave me a weird and specific feelingÖ anyway I woke up and realised the dream was supposed to be me visiting Kou after Iíd died, so the flower shop and the Eclipse JP thing were all references to me being the dead husband she was talking about, and the old woman was Kou, I realised afterwards, oh yeahÖ she looked just like Kou didnít she, and thatís why Kou didnít get out of the taxi with me because it was like a visit to my afterlife or somethingÖ I must be really tired because REM happens when youíve been asleep for like 3 hours (the transference of short-term memories to long-term memory). So my brain must have been like, Ďoh quick, heís fallen asleep, letís re-arrange his thoughts!í and all of the things I experienced in the day were transferred in that brief moment of sleep. The song ĎPower Of Equalityí by RHCP Iíd listened to earlier, which my brain couldnít properly recreate (hence the band fíing it up), the flowers I had painted in the day Ė and the little old lady Kou had called Ďcuteí, not to mention the episode of Only Fools and Horses Iíd watched while gamedevving. All of these small elements came together to bring a little story to help me reflect my feelings of my companyís success and not wanting to die before my wife, in those 3 minutes, isnít our brain an amazing thing? Once you learn to quickly interpret your own dreams, you really get to know yourself better, I think.

Anyway, it was so weird. So yes, if you like that story, then youíll definitely like the situations in Healing Process: Tokyo.



So what's the relevance of bringing up this dream? Well... people always say 'write what you know'. Why? Because creating something based on what you know is the perfect setting for Ďrealismí and the feelings of something you can understand from your own point of view. If you write about what you know, you'll have the greatest chance of making something 'real' that connects with the person reading, watching or in our case, playing your creation.

So I'm taking this 'write what you know' to the next level with HP:T, as I am going to be using true experiences of dreams I have collected throughout my entire life.

The dreams that stuck with me until now are almost always more vivid than real experiences and that will be evident upon release. I've shared one dream for today already, so I'll be saving the rest for you to actually experience in the game.

Needless to say these dreams will be an endless source of entertainment. I've been working on the trailer constantly, I won't let it go until it's perfect though so don't hold your breath for it yet. I'll let you know when the reveal is close by. I will probably have a count down before Kickstarter between 5 days to a week before it starts. So thereíll be no excuses for missing it!

Okay, I'm going to get on with it. If you want to show your support click this link to join the discord chat and come and show your own stuff too! Iím interested in seeing whatever youíre working on, be it music, art, a game, programming, 3D modeling, a movieÖ anythingís good!

Thanks! See you again tomorrow, or at Discord!

See you!

Sam

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#018. Off the Cuff #2. Updates & Moondogs.
November 7th 2017 18:14, (Tokyo)

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Hey guys, Iím here again. Today Iíve just been improving the piece from yesterday, and this is how itís looking right now:


Finally, Iíll be coming back to put the detail on Charles tomorrow, and make the colours of the sky make a bit more sense. Thereís some random yellows in there which I donít really want. So today I went outside and took some more animation reference videos. Climbing up ladders and climbing up walls and stuff. It was pretty productive, Iím going to be making them into animations tonight.

Iím currently making some animations to finish off the trailer (2017 version). Iíd like to reveal them but if I do that thereíll be no element of surprise to the trailer which would be bad. Thatís why Iím just sharing concept art recently because Iím compiling all the scenes of the trailer now. Iím getting closer and closer to challenging Kickstarter again, itís quite nerve racking as, you know Ė I failed once 2 years ago. I do honestly have a lot more confidence this time though as I really worked hard for it this time. Iíve been working on scene after scene after scene, all to use in the trailer for the past 8 months, and obviously to use in the game too. In the last 8 months Iíve probably made over 50 areas (in depth), but Iíll only be showing a few of them in the trailer.

I donít like it when you see an indie game and you look at the trailer, and every single level thatís in the game is used in the trailer. So once you actually come to play the game, youíve already seen all of the areas and itís kind of like Ďoh yeah, I saw this in the trailer tooÖ oh yeah, this big titan boss comes here, saw that in the trailer tooí. Why even buy the game at that point? So, for that reason Iím concealing about 95% of the game until release :D .

Yesterday I started listening to this artist called ĎMoondogí, and heís pretty famous but Iíd never heard of him before. Thereís this compilation called ĎThe German Yearsí and Iíve only found disc 1 at the moment but Iím sure disc 2 is also up on YouTube, Iím going to link it below. Itís just so weird, some of the tracks are really good (Fujiyama) and some of them are just kind of Ďwhat the hellí, where the guy is singing about a Ďpigmy pigí andÖ Ďpigmy bearí andÖ I donít know but itís just good hahaha. I wonder why I like this butÖ art takes you to strange places.


Thatís pretty much all for today, just a little update. Iím trying to conceal about 70% of what I do in a day while also giving a decent update. I donít want to take away any sense of wonder from the first play of the game so I have to be careful. I need to get back to work now, Iím doing 22 hour days here guys.

Also, I wanted to say again thanks for the support and for joining the discord guys. We already have 13 members! I was only expecting about 100 in total but we already have 13 in two days so Iím sure it will probably go beyond that.

Right Iíll see you tomorrow, or see you at the discord here.

See you!

Sam

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#17. Off the Cuff. Discord Family! Concept Art!
November 6th 2017 17:05, (Tokyo)

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Hey guys!

Today Iím recording this off the cuff (listen over there>>>) because it actually takes a long time to write everything down first, re-edit itÖ record itÖ edit it again and then upload it. It takes a lot longer than it should.

The first thing I want to talk about today is the discord group that I made, the link is at the top of every single page in the devlog (it looks like this). Weíve already got 10 members Ė woo :). Only started it today so itís not bad at all! If you want even more updates give it a click and sign up to chat with me Ė and you can see my works in progress of work in progress images! :) You can imagine how great they look ;>,> . Iíve had a lot of positive feedback on the facebook page here, and the other indie dev groups. I had one user go as far as to say Ďshutup and take my moneyí, and another comment saying this!


So nice!

Please join the mailing list and discord so I can take your money more easily! :D

I feel like thereís some real progress on the game now (by that I mean, finally people are noticing its existence after 2 years of working alone on it). Iím uploading my watercolour pieces / digital watercolour pieces. I even made a mock-up of a snes-esque game case. You guys in the discord re-assured me that you donít think itís liable for a lawsuit ;) , so I think Iíll be using it as the promo image on the next Kickstarter Campaign.

Yeah, so if you want to be constantly in touch and check up on the gamedev progress, we have the main chat, introduce yourself, favourite music/games/artists/movies. We even have chats for you to share your work! No need to make it all about HP. That would be boring!

The Mailing List Concerns
So tonight Iím going to make the mailing list easier to sign up to, because itís kind of complicated at the moment, you have to confirm an e-mail in your inbox to be accepted and itís kind of a nightmare. Iíve had complaints about it quite a bit now so I think I might have let quite a few subscribers get away :( So Iím going to make it where you can just slam in your e-mail address and youíll get on the mailing list straight away.

Today Iím sharing this concept art (WORK IN PROGRESS) of Charles,

heís erÖ well Iím not going to explain it, because that would be pointless. This time itís digital but Iím going to whip out the real watercolours soon. Iíll finish it off tonight and upload it tomorrow, but I have so much on my plate with the animations for Charles, enemy animations etc. Charles alone has over 200 animations in the game. Now Iíve got it down to the point where I can make 3 animations a day if I push myself, but then thereís all the enemies to think of too.

Needless to say, if the Kickstarter campaign succeeds I will be able to work on the game every minute of every day and I wonít need to take on freelance composing/translation work from others which will be incredible. Thatís the true aim.

So today I just wanted to share about the Discord group, again here and the concept art. Come in and chat on Discord, Iíll be there anytime, and you can see how the art is coming along. I think Iíll be revealing a new area of the dreamworld in the next few days so come and join us.

So, Iíll see you tomorrow in the next update or in Discord.

Bye!

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them directly in your mail. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail box or I wonít get the request to add you).

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#16.5 Pioneers.
November 5th 2017 23:54, (Tokyo)

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Hey everyone!

Iím working on another watercolour piece, digital this time. Iíll post images tomorrow. Iíve got a lot to do so I am going to keep it brief today.

Iíd just like to dedicate a post to three of my favourite musicians today who I consider visionarys and endlessly inspiring.

In no particular order:
Thom Yorke:

This collection of live pieces by Thom on his piano really shows off the depth of his songs, and is great to gamedev to! It also makes me want to practice the piano a lot. The guitar is my first instrument but Iíd love to be able to call the piano my Ďfirst instrumentí too.

Sakamoto Ryuchi:

Same as Thom, a completely unique talent. The way he plays the piano and composes music is so inspirational. If you're ever at a loss of what to do with your art, just pick up and piano collection album by Sakamoto and youíll be reinvigorated for months.

Sugizo:

Much like Sakamoto, Sugizoís approach to composing is so unique. As does Thom, Sugizo comes at every solo project with a completely new sound and itís brilliant to track his progression as a musician. I actually met him once before with my wife but didnít get to take a photo. I shook his hand though! He is the guitarist for Luna Sea and X Japan, two massive bands here in Japan.

If you havenít heard of the music of these artists I suggest it.

Iím going to get back to the looping gamedev behaviour. See you tomorrow!

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them directly in your mail. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail box or I wonít get the request to add you).

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#16. Ueticoís Bastion Ė Finished?
November 4th 2017 17:13, (Tokyo)

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Hey everyone!

I finished the art piece ĎUeticoís Bastioní from yesterday. I think itís finished. I might come back to it. In total it only took me about 2 hours of actual work to finish it off. Check the gallery for the large version!


Recently Iíve been polishing some animations from the game and finishing up the trailer.

Today Iíd like to talk about the failure of the first Kickstarter campaign in 2015. Iím going to start off by saying I am extremely glad that the project failed. Looking back over the old campaign (here) I can only think one thing... Ďimagine how bad it would have been had it succeeded?í

To put it bluntly, success would have been a tragedy.

Thanks to the failure of the original campaign, Iíve been able to push myself, work on new art and take time and care everything. It gave me the kick in the rear that I really needed to look at my shortcomings and improve my work.

Let me paint a picture for you of what would have happened had the Kickstarter have succeeded in September 2015. I would have gone along with my small team, only personally focusing on the story and music myself Ė leaving the art up to someone else. I would have a lot less control over the project andp ushing someone else to make art in a certain way isnít nice for the director or the artist and one of two scenarios would have happened.

a) it would have ended badly as it did anyway due to my pressure on the artist, yet we would have had funding left over and I wouldnít have known what to do with it.

b) we would have continued to work on something that was frankly, looking back at it mediocre at best.

Luckily, along with the failed Kickstarter campaign in 2015 a bullet was dodged. Although Iím now making the game alone, I am so secure now due to the fact I can deal with each element of the game myself. I have mentioned this before Ė but it is so relieving to know I donít need to rely on anyone else for any aspect of the game. All I have to do is continue working on daily and the results will speak for themselves.

So, wait up for the trailer and Iíll let you know once itís done. Maybe in a month or so. In the meantime Ė how about checking out the Facebook group here?

Thanks as always for reading along. See you again tomorrow for another update. Oh and by the way, todayís track of the day is still the same as yesterdayís track of the day. Absolutely brilliant Ė check out the last entry (Hosono Haruomi Ė Watering a Flower) absolutely brilliant. Thanks!

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them directly in your mail. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail box or I wonít get the request to add you).

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#15.5 Concept Art and Watering a Flower.
November 3rd 2017 18:02, (Tokyo)

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Good day people! Sam here.

I updated the gallery with a new image, itís one of the areas of Charlesí Dream world known as ĎUeticoís Bastioní. ĎUeticoí is a song by a band called ĎThe Flareí, and I think they made the word ĎUeticoí meaning Ďcannibalí. I have tried to find the word in other languages and canít seem to find it anywhere. It means Ďcannibalí to me and Iím borrowing the word from them for use in Healing Process. Let me know what you think! Message me at admin@healingprocessgame.com ! You can see the full sized image by visiting the gallery page.


I recently started to listening to one of my favourite albums again that I havenít listened to in a while called ĎWatering a Flowerí (or ĎHana ni mizuí) by Hosono Haruomi. Iíll link it below so have a listen. Itís the same track that continually evolves for 46 minutes. Itís really good to work to. And I think 1 full play of the album constitutes a good amount on concept art per day so Iím using it as a measure for that. Great right!


Thereís no recording for today as I have a lot of work to do on the game, but thereíll never be a lack of updates! Iím going to come back to this concept art tonight and reupload it tomorrow in itís hopefully finished form.

See you tomorrow!

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them directly in your mail. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail box or I wonít get the request to add you).

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#15. Gallery Page Opening (above), the Documentary and a Short Clip.
November 2nd 2017 15:43, (Tokyo)

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Welcome back to the Healing Process: Tokyo devlog!

I uploaded the gallery page today! Itís looking kind of bare at the moment but Iíll be adding new images every day. Be sure to check it out from now on. Sometimes Iíll share the images in the devlog, but I will also be uploading concept art daily which I may or may not mention in the blog, so be sure to check out the gallery page!

Take a look at this, itís a picture of the progression of Charles from 2014 to 2017!




Heís been through a lot of changes. The first laughable thing by me in 2014 which looks like some reject from ĎSword and Sworceryí, followed by Igor Greenís work in 2015, again my work in 2016(3) to an edit by a friend called Daniel Mafra(4) (we never really ended up working together, he made 2 sprites), and finally the style Iíve ended up on now in 2017. It took a long time to find something that works but the rotoscoped realism is really what I love. I like real proportions on characters, and the lighting and animation fluidity has clearly improved. I definitely wonít be changing the style anymore as I have found a look I can work with that also fits the intricate level designs, but man did it take a long time to get where I am now!

The other day I posted this audio clip of my improvisation at the graveyard in Nippori:


This was actually taken in March 2016. I dug up a short clip that my wife (Kou) took and put a bit of the audio to it.
At this time I didnít even have my DSLR so I didnít have the means to take any decent stuff for the documentary, but the footage Iíve been taking in the last year is definitely worthy enough to be used in the documentary.

About the documentary:
Iím in fear of repeating myself here but Iíll write about it anyway. I am creating a documentary of making the game alone. Why would I do something so self-aggrandising? Well the thing is, this game has been a real ride for me and Iíve learned a lot about paying attention to detail, focusing on one project and also just believing in a story and process and seeing it through to the end. Creating this game has already taken 3 years of my life already up to this point, and itís going to more time, I want to document the whole thing so I donít feel like I am losing/wasting all of the time in my life :íD. Itís no secret that the game is massive as an indie venture, itís going to be over 30 hours and I anticipate 40 and upward by the time Iím done with it. It has not been an easy task to acquire all the skills necessary to create but I hope maybe I can impart some knowledge or way of thinking to people looking to do something like this alone themselves. I think creating something alone like this is really underrated (as an experience). I know itís okay to ask people to help, but seeing how much my artistic side has improved and how the art has influenced my music, learning about photography and animation, and all the other things Iíve learned about from this progress have just been so eye opening. Iíd rather push myself and grow relatively quickly in these areas than to rely on other people. I understand this can be considered a character flaw but I consider it a positive thing.

The documentary will include my process of going to all of the areas in Tokyo in the game, taking reference images, and how I then go to use these images as references for the pixel art and how I then draw the art for the game. All of the areas in the Tokyo part of the game are based on real places Iíve taken photos of, Shinjuku, Ueno, Akihabara, and other less famous places. I have sat in these streets and parks improvising different pieces of music on my guitar, with a little drum machine, or on the bass, or recording and cutting up samples and then taken the feelings and recordings from each place and come back and composed them for chip-tune tracks, as well as orchestral tracks and band music. Iím also using real sound effects and samples of the places to capture the surrounding elements and bring them into the sonic environment of the game. By accessing the feeling through the music, and the sound and imagery through the art and real recordings of each place I bring Tokyo to you.

Thereís interviews with people here in Japan, and needless to say a lot of imagery and shots of all of the larger views and finer secrets of Tokyo I could find.

Recently I started taking my concept art sketches and painting on them with watercolor (both real and digital) and I am going to start sharing them with you today. #1 is Charles Russell. I call it ĎInbetween Illusion and Truthí.


As I mentioned above Iíll post images Iím particularly proud of in the devlog but other concept art images will be in the gallery daily so donít hesitate to check that out.

I have a hell of a lot of work to do so see you tomorrow!

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them directly in your mail. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail box or I wonít get the request to add you).

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#014.5 Mini Update (Gallery Announcement).
November 1st 2017 15:10, (Tokyo)

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Hey guys, just a quick update today to let you know Iím adding a gallery section to the site today, where Iíll be linking both images from the game and also videos. Iíll occasionally upload some concept art and other media there so be sure to check it out from tomorrow onwards.

Today rather than uploading a lengthy narration Iím going to focus on that so be sure to check back tomorrow.

I want to take today as an opportunity to say thank you to everyone following the devlog, and for the supportive E-Mails and Facebook Messages Iíve been receiving. It really makes the years of hard work worthwhile and I am excited to share with you what Iíve been working on shortly.

See you tomorrow,
Sam

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#014. ĎArtistic Integrityí and ĎMeaningíÖ or something.
October 31st 2017 15:56, (Tokyo)

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*I keep saying Ďprescribeí in this entry's recording where I mean Ďimposeí, I am not going to edit it so please live with it. Sometimes it makes sense and sometimes it doesnít. Sorry! Iíll edit it before I put it on YouTubeÖ ;)

The movie ĎA Scanner Darklyí is known to most people who use rotoscoping techniques in their work. Today Iím not going to be talking about rotoscoping too much as it actually only makes up about 15-20% of my game, and Iím even beginning to bore myself a little with the topic. Today Iíd like to discuss something like Ďartistic integrityí and Ďmeaningí. When I was younger I used to think music had this massive meaning, and art too in general. I still think so sometimes, and sometimes not at all. The thing is art only really has any meaning if you want it to, or if you believe in its message.

I was watching a kind of essay about the movie ĎA Scanner Darklyí, Iíll link it below but itís long so you might not want to watch it.

The speaker is going on about how the technique of rotoscoping brings the characters to life in a new world in a new way, but also about how this is the most real way to mix reality and fantasy because itís looks so real yet we are constantly suspending our disbelief because of the way the art uses the Ďuncanny valleyí. This means that the art looks so close to being real yet there is something about it which appears to be dead/non-human like, and for that reason we are re-assessing the reality of what we are experiencing every frame. As something un-realistic or sci-fiesque is introduced it doesnít seem out of place. While I agree to an extent, I just wonder if this level of analysis in art is healthy or even necessary at all. It feels like the speaker is bending over backwards to find some amazingly deep meaning to the film that may or may not be true. Ok, I admit, itís a really nice way to look at the movie, and I think I experienced it in the creator Linklaterís first well known venture ĎWaking Lifeí, but once I got used to the style it didnít seem that amazing. Not to speak badly of the film ĎA Scanner Darklyí but I feel the earlier ĎWaking Lifeí actually achieves what the speaker is explaining a lot more albeit the clear difference in quality, with ĎWaking Lifeí being a lot less dependent on the photorealistic imagery and in term more artistically free in my opinion. You have to add that disclaimer Ďin my opinioní, otherwise people jump down your throat. As if I was trying to voice someone elseís opinion or claim as if the commentary were a fact.

So I sat here for ages and just felt a bit disenfranchised by this person trying to put so much emphasis on the movie born from the unconventional technique of rotoscoping. It all felt very pompous and self-righteous ;D until I took a step back and realised that obviously itís not actually the creator talking but some university student or something, working on an assignment. That brought me around to a more scary thought and that is, who really assigns the meaning to the movie then? Because thatís the most I have ever been made to think about the complexity of the technique of rotoscoping used in media, and itís not like itís newÖ I mean Disney used the technique frequently for gods sakeÖ Is that why Disney is so popular? So is it the creator imposing the meaning upon the viewer? Or is it people like this (in the video below) who clearly send out these ideas into the Zeitgeist. Is there just no inherent meaning to the film in the first place. Ultimately I suppose we choose ourselves, but people are very easily influenced and if a lot of people get the same idea in their mind and they all speak about it in the same way, theyíre going to influence a lot more people. It might just be laziness due to copying others ideas or somethingÖ I donít know. Does the creator have the final say in what it all means, or do they themselves not actually know the true effect or meaning of their work? What if they hadnít thought of all of this stuff she is going on about? Does it matter? Does the creator simply wield the ability to create something without understanding it?

Itís all very worrying for a creator. I mean you can put something out there with an idea or meaning that you think youíve given it, but eventually the people watching it will just see what they want to see. Is that bad or good? Your work could be completely misunderstood from your perspective once you let it out into the world.

I suppose thatís why parents always love their children no matter what they do.

Creators are often known for saying that they Ďjust canít do anything elseí, as an excuse until they fail or succeed. I know Iím in this category. If they fail they get a regular job and blend in with the crowd, and if they succeed theyíre vindicated for their efforts. Extreme effort brings success, once you create something and polish it up. But that doesnít necessarily mean itís good, it just means itís polished. Thereís a middle ground, what about the people who just keep creating and never really gain attention but never give up, only half heartedly showing off their efforts? Never really succeeding, but never really failing. Maybe this is true success, being happy just doing it. To be honest, I would be. Maybe they have the strongest message as itís so true to them that they canít let go of it, and continue to work on it forever. Well you have to respect that bunch. Iíd like to think once I finally release Healing Process: Tokyo itís not because Iíve been pushed to by someone else, because of financial interests or to keep up appearances but because it actually represents the message I think I have and itís finished to the level that satisfies me. Thatís all that really matters I suppose. If Iíve made something honest and people love it, that must be truly great, this is what I consider to be Ďartistic integrityí I suppose.

Well enough of this nebulous chatter for now, you must be getting bored.

Hereís the inspirational OST and Game OST pieces of the day:

Ghost in the Shell - ĎReincarnationí. This track goes through various transformations in the movie, starting off as a stripped down choir, slowly adding in instruments as the soundtrack goes on, there being 3 or 4 versions of the track, the final one being ĎReincarnationí. I suppose it can be seen as the integration of computer and human elements, and the building of this biological-android life. In other words, symbiosis of the past and the future in society. Now, you see how I was talking about ĎA Scanner Darklyí and criticising that video essay because of the subjectivity of the nature of film in the world, I think soundtracks can have meaning in the context of movies if the creator of the movie has a specific vision of their movie. This is why confident works with good soundtracks appeal to me so much. Again it all goes out of the window once I (or anybody else) starts talking about it like I am now. Or maybe it doesnít, I donít know. Needless to say Kawai Kenji, no thatís not Ďkawaiiiií Kenji!!! Kawai Kenji hit the nail on the head here with arguably his most instantly recognisable track ĎReincarnationí.


As for the game piece of the day, Iím going to have to go with ĎTartarusí from Persona 3 (any version does it for me really). Man these tracks are so simple but the feeling it gives you once it goes along to the environment and introduces the atmosphere of the dungeonsÖ itís one of the most memorable tracks of the Persona franchise for me, and I canít even really explain why (which is a good thing in my opinion). Iíll be sure to mention composer Meguro Shojiís work in the future for sure.

I guess what I want to say today is, is art good because we impose this huge meaning to it after the fact, or is it good because the person who made it was passionate about making it in the moment? Itís an ongoing mental struggle but I suppose art that is most revered ticks both requirements.

Well thatís enough for today, you go do something productive too, Iíll go get on with the game.

See you again tomorrow, Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them from your mail daily. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail or I wonít get the request).

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#013. Some Progress, Some Questions
October 30th 2017 16:08, (Tokyo)

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Hey guys, Sam here with the Healing Process: Tokyo devlog at healingprocessgame.com

I was working through the night again and kept dozing off halfway through. Luckily Kou always notices and wakes me up (she somehow notices Iíve fallen asleep despite being fast asleep herself). I think this is due to my insanely loud snoring.

Hereís a little work in progress of a boss Iím working on. I posted the image before but this will be his entry animation. I am wearing my wifeís polka-dot trousers so Iím not showing my legs here ;).




Iíve been drawing a lot of concept for the other enemies recently which I will be sharing shortly and will include on the Kickstarter campaign page upon launch. The daily effort that is making the game is accelerating my skill in various areas, especially art which is great. Iíd like to make a deviantart profile but honestly I donít think I can keep up with updating everything so Iím going to keep it to Facebook, YouTube, this devlog and the occasional tweet.

Today Iíd like to do something a bit special and pose 2 questions to the readers out there, since Iím getting a few on the mailing list now. If you have time you could E-Mail me by responding to the newsletter, or just straight to me at admin@healingprocessgame.com

Iíd like to ask your opinion on the following;
Firstly, What are you most impressed on seeing in a devlog, and what would see that would motivate you to back a Kickstarter project? (Please choose 2)
I) Character Animations
II) Well illustrated Levels
III) Concept Art
IV) Cutscenes in the Trailer
V) Gameplay in the Trailer

Secondly, please let me know some of your favourite games, other games that feel like Healing Process: Tokyo or some of your favourite game soundtracks. (Basically, send me some recommendations). If you like the feel of Healing Process: Tokyo, then itís likely Iím going to like what you like.

Thanks!

OST Piece of the Day and Game OST Piece of the Day
Today Iím going to share with you the track ĎDonít bother noneí from Cowboy Bebop. Now I know, the obvious choice is ĎThe Real Folk Bluesí or ĎAsk DNAí, but I just listened to this track today. The words were pretty amusing and the ending solo has some real passion to it. For that reason I decided to share it with you. As for the game piece of the day, Iím going to have to go with ĎMan with the Machine Guní from Final Fantasy 8. If I ever cover a game track with my band itíll definitely be this one (or ĎEyes on Meí from FF8).When the drums first come in on this track you know youíre in for some top notch music. Itís very simple yet effective and Iíd be lying if I said it wonít be playing a role inspiring the Healing Process: Tokyo OST.

I know I said Iíd share the animation of the gravity ball-esque animation from the last post, but I was working on some other elements such as particle physics and boring stuff which isnít really worth looking at. so Iíll stop making empty promises from today!

Well thatís all Iíve got for now. Iím going to get back to the game dev.

See you tomorrow.

Sam

Donít forget to subscribe to the daily updates via E-Mail if youíre enjoying this devlog! You can read them from your mail daily. Just click the devlog button at the top of this page and see the mailing list form below. (Youíll need to validate via clicking the link in your E-Mail or I wonít get the request).

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#012. Animation Result with Work in Progress Energy Ball
October 29th 2017 17:23, (Tokyo)

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Hey guys, howís it going? Octoberís drawing to a close and all of the staff on the cash registers at Don Quijote are dressed in Halloween attire. Yes, Don Quijote (Don Kiho-te), no not that guy on a horse but the chain of stores in Japan of the same name!

Iím very lucky to live within 30 seconds walking distance of this 24 hour wonderland of food, electronics andÖ shoes? Itís just got everything!

Rotoscoping Tutorial Part 2 (The Result).
So hereís the result of the rotoscoped animation I started 2 days ago. As you can see itís running pretty smoothly and Iím pretty happy with the way it turned out. Iíve also started adding a kind of gravity ball animation to it which is growing on me. Iíll be animating this energy ball tonight so I might share it, I might not ;) .


I was going to continue with the tutorial but I think I tackled the main parts, and Iíll leave the rest for you to figure out. I canít hold your hand through everything! Itís quite straight forward after the framework I already put down in devlog #11 below.

OST Piece of the Day
I realised of all of the inspirational music that Iíve been sharing, none of them have been from games! Today Iíll be sharing the track ĎDeparturesí from the Star Ocean 1 OST.


I donít know about you, but for me this game feels really nostalgic, despite the fact I didnít even play it back in the retro days, I only really properly played it through this year. I think the feeling of nostalgia comes fromthe instruments used, the sounds are very 90s, and Super Nintendo-esque. It definitely has some interesting mechanics. In some ways those old games really outsmart newer games these days in my opinion. Thanks to the limitations of the consoles at the time, games like Star Ocean, Chrono Trigger and Final Fantasy 6 feel as if youíre playing through a perfectly crafted piece of art. Thereís a very heavy emphasis on the music, art and especially the story. Itís truly inspiring for me to play through these games as I am working on mine.

Iíll be back tomorrow where Iíll talk about something completely different for a change.

See you then!

Sam

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#011.5 A Break from the Devlog Today
October 28th 2017 19:29, (Tokyo)

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Hey guys, I want to keep this as current as possible by uploading everyday. However, today I have spent too much time editing yesterdayís post so Iíll be leaving the audio part of the devlog out for today. Consider this entry #11.5.

It would be pretty meaningless to write a devlog that takes away too much time from the actual game development itself so today I am going to keep it very brief. I mentioned ĎAngelís Eggí in a previous post, well, I rewatched it last night and it was seriously inspiring. Iíll be looking at this image to inspire me when creating one of the dream worlds in HP:T.




Angelís Egg uses a lot of religious imagery, and the story is in deed a story of Ďfaithí and a girl trying to protect hers. Religion will play a very minor part in the story of Healing Process: Tokyo, though it will be present. Until the past year or two, a lot of my daily life involved arguing about the validity (well, lack of validity) of religion. For that reason Healing Process: Tokyo will be a kind of haven away from it all.

Yesterday (today) I updated the devlog with an animation tutorial based on rotoscoping. Making the tutorial crystallised a few ideas, and I was able to improve my own process with a few ideas. Be sure to read below if you want to know my method of rotoscoping pixel art.

Well, Iíd better get back to the game. Come back tomorrow ;)

Sam



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#011. Rotoscoping Tutorial Part 1, My Microphone
October 27th 2017 16:50, (Tokyo)

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Hey guys, Sam here with the Healing Process: Tokyo Devlog.

I am going to discuss my process using rotoscoping to make animations today and arrange it as a tutorial for those interested. Hopefully it will be kind of obvious, but there should be some things you wouldnít think of if you hadnít used this technique before.

Letís dive straight into it.

Rotoscoping Tutorial Part 1

Step 1: Come up with an idea and plan your movement
Everything is born from the final result you envision of your animation. Be it wielding a sword, using regular hand-to-hand melee attacks, a run cycle or any other type of movement. Youíre going to have to keep a number of things in mind when you are taking your sample video to save you editing a lot later. There are going to be additional elements to add in later without your mistakes of consistency. So, try to run in a straight line, make sure the objects you are holding line up correctly, and most of all, make sure you go back to your original pose at the end of the animation.

For this example I will be doing a punching combo, which will use 36 frames.




Step 2: Find an open space to record
Do your best to find an open space that will let you record that will allow recording your entire body. If you donít need to record your whole body and are not doing large movements, you might even be able to do this in your room at home.




Step 3: Practice what you are going to do
Practice what you will do, and consider all of the important points such as staying on a straight line, etc.

Step 4: Record your video action
Shoot 2-3 takes of your action all in one recording. Watch it back, if itís terrible Ė do it again.

Step 5: Use the software called ĎVirtual Dubí
Using the software, ĎVirtual Dubí, you can extract the frames in a set period of time from the video. See the images below. Export your images to a folder where youíll keep all your raw animation frames.




Step 6: Renaming Key frames and deleting frames
Youíll need to delete every other frame multiple times to get it down to a decent number. Firstly look at your images and find the key frames, for example if you are doing a punch, you want to keep the frame where your arm is stretched out the furthest because this will be the impact of the punch. If you donít have this frame, and youíve deleted the frames before and after it you wonít have the impact of the punch and it wonít even be obvious what your animation is trying to achieve. You should rename your key frames with a dash on the end. When deleting images basic rule is 12 frames for each action (a running cycle with 1 step of each leg for looping would have about 14 in my book). Some people use half of this. I have been told I use a lot of frames, in my opinion it is essential for a smooth animation, but it takes a long time to draw over. I already consider rotoscoping a shortcut so Iím going to make it at hard as possible to achieve.

To delete the frames, make your window about this large and change your listing type to Ďlistí, rather than Ďdetailsí or Ďthumbnailsí, you can drag across in a straight line and delete every other frame this way. This will make deleting frames a lot faster, you will have to repeat this deleting phase a few times until you have your frame count low enough.




For my 4 Ė hit combo I am using 36 frames. Please consider each frame carefully when you check them.

Step 7: Import photos and resize them
Import your frames into your photo editing software and resize them to fit the size of your character in-game. This will determine many things, such as the amount of time taken on animating, so choose your character height wisely.

Step 8: Draw a line
Draw a line across the floor, representing where you want the character to run. Then align the photos to this line as best as possible. If you want your character to run on a straight line, youíll have to reposition the legs in the next step. However, if you donít want your character to run exactly on a straight line you can use this line as a reference point for the centre of the characterís weight. You can then have one leg two pixels above and one leg two pixels below if you donít have a completely flat floor. Whichever animation type you are going for, drawing this line will help you keep your characterís actions in order, and in my opinion drawing this line is essential. You donít want floating characters!





Step 9: Outline your character
On a new layer, outline your character in every single frame and fill in the space. In my case, when the characterís leg is touching the floor, that line must be the line above the pixel line from the previous step, so I have to reposition in this case:



If you can't see this image clearly, right click and download it.

Make this layer about 40-50% or maybe even 30% opacity so you can see your character underneath. This can take a long time depending on your frame count.

Step 10: Basic Colouring
Colour each of your characters body parts one by one. I start with one area, such as the hair Ė as shown below (fig 1). I then select the hair in every single frame of the animation. I usually use the darkest shade first, then fill in all of the selected areas. There should be a one-click fill (change tolerance to 100%), on the universal setting so it fills all of the areas at once. This is why we made everything the same colour in the last step. Weíre not yet considering lighting. As you can see I begin like this:


If youíre wondering how I placed every frame in a straight line like this(fig 1), well Ö I do it by hand. Thereís probably a faster way to do it but I donít mind, I just do it by hand.

Nothing about my method is automatic, I know there are people who will simply just use automatic tools to get the colour from the character, maybe using some kind of filter to merge / only allow certain colours or something, however this is cheating in my opinion and it will show up in the final product if you donít choose and arrange the colours in your own way. Also there are two negative points to using a filter:

1) there will be random pixels all over the place
2) it will just look like a photo, not pixel art

also, thereís a third point which is that it just doesnít show very much artistic creativity in my opinion. This is already a shortcut for people who canít animate so we have to do it as artistically as possible and treat it with integrity :)

Step 11: Lighting
Once you have finished with the base colour for each body part, you can add the lighting to each of the body parts frames(see fig.3 above). This will take a while. For a 36 frame animation like this, it will sometimes take me all day Ė however I am definitely getting faster with progress and thereís no reason you canít too.

Iíll post my progress on this piece tomorrow since I am currently working on it right now. In the end I will do a kind of Dragonball Z / Street Fighter / Yu Yu Hakusho-esque blast of energy from my hand. I will show you my process of this too, although I donít know what it will be yet because I try to do it in a new way each time.

Iíll post a video of the whole thing tomorrow.

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My Microphone and Mixer
Iíve had a few questions asking what microphone I use to record my voice with, and what I am processing it through.

I am using the Electrovoice RE-20. Itís not a cheap microphone, (it will probably cost you $400 or more). The reason I have this microphone is because Iím currently composing and recording my bandís first album. You can see a performance we did from the studio in Ikebukuro, Tokyo here, check it out!

Despite composing music for over 12 years now, this is the first song I ever wrote for my own voice so hopefully Iíll improve in the future! I am quite proud of the improvised guitar solo at the end. Iím singing and guitar...ing in the video.




I am recording the microphone through the Zoom R-16 which again is an amazing mixer and recorder, and can even be run on batteries if you want to take it outside. I have my wife Kou to thank for this, she bought it for me last year on my birthday. What an amazing piece of equipment. I actually take my guitar and mixer around to various locations from the game here in Tokyo and soak in the atmosphere of the place while writing and recording the pieces for the soundtrack. I feel this gives a genuine sense of the atmosphere of the place in the music. Of course through my own filter Ė but nevertheless honest.

Itís the closest I could get to really help the player experience the area. I sit down for a long time until a musical idea hits me, and then just record for about 30 minutes. This will then be the basis of the soundtrack for that area. Iíve had some really unique ideas and sounds come out while doing this and theyíre all included in the pieces of the original soundtrack. I definitely wouldn't come up with the same feeling and musical ideas if I didn't write the initial core parts of the music in the place itself. I also record sound effects of the area as well, which will be used in the game. This again, will help immerse the player in the area. Here's a little solo guitar improvisation I recorded in Nippori fishing for ideas.


Thatís all for today, Iíll come back tomorrow where Iíll finish off this tutorial and show you the result of my work. So see you then.



Sam

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