Author Archives: dislekcia

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About dislekcia

Danny Day still enjoys telling people he's a game designer far too much. He has yet to apologise for accidentally staring Game.Dev all those years ago (some believe he never will) and currently runs QCF Design in the hope of producing awesome games that you'll enjoy playing. Don't talk to him about education systems, procedural generation or games as art if you value your time. [Articles]

Competition 23 Results

Competition 23 ruffled a few feathers when it was announced: Apparently marketing an existing game is not something that many developers really want to think about, preferring instead to keep writing new and interesting prototypes and games for themselves. It’s not hard to see why this would be the case though, that fascinating process of “finding the fun” is the thing that most of us enjoy about game design, after all. But it’s equally not hard to see the unfortunate ramifications of this reluctance to think about your games’ exposure…

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Comp 22 Results

Ask any gamer to imagine their favourite games cross-dressing as different genres and you’ll have yourself an entertaining waste of an afternoon. Turn that into a drinking game somehow and you’ll have some of the best ideas that nobody can remember (“Hey! What about Bejewelled as a drinking game! You’d have a grid of colourful shooters…”) and probably the most fun hangover ever. There would probably be rules to where and how you could feel bad and an inexplicable set of text parser puzzles to solve. These things happen.

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The truth about institutions

This article originally appeared in Dev.Mag Issue 4, released in July 2006

So, off to a tertiary institution? Studying for your future? Excited about the opportunities in professional game-making that your studies will present? Well, know now that there’s another side to going to university, something that’s overlooked by a lot of students. You’re going to be surrounded by tons of interesting people while you’re studying, and if you don’t use that time to make contacts and learn about things “not in your field”, you’re missing a big opportunity to get ahead as a game creator.

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Spacehack

This article originally appeared in Dev.Mag Issue 27, released in November 2008.

SpaceHack is one of two Game.Dev DreamBuildPlay 2008 entries. It eventually placed among the top 20finalists in the competition. The following is a discourse by one of the game’s two creators about the creation process and the story behind the game.

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On the Back of a Napkin: Part 1

This article originally appeared in Dev.Mag Issue 2, released in April 2006.

Wondering why your PC doesn’t play games so well anymore? Trying to decode the latest marketing-speak on the back of a game box? This series is designed to give you the knowledge you need to understand the tweaks and trade-offs you can make to improve your gaming experience. We’ll go through the concepts behind the gibberish on the options menu, without going into all that math!

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On the Back of a Napkin: Part 2

This article originally appeared in Dev.Mag Issue 3, released in May 2006.

Last week we went over some of the very basics of 3D graphics. This week we take a look at exactly what it is that vertices do for us and how they do it. We’ll cover some more abstractions and end up explaining some of the single-letter terms that kept cropping up a few years ago.

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On the Back of a Napkin: Part 3

This article originally appeared in Dev.Mag Issue 4, released in June 2006.

Now that we’ve got a solid foundation to work with, we can start looking at more relevant issues in 3D. This week we’ll explore the idea of texture filtering and why it’s a good thing. We’ll find out what the various types of filtering actually do, how they do them and how much of a frame rate hit each one causes. Read on if you want to know the difference between bilinear, trilinear and anisotrophic filtering.

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On the Back of a Napkin: Part 4

This article originally appeared in Dev.Mag Issue 5, released in July 2006.

Transparency effects in games are very important, not only because they make games look good, but also because they provide a unique set of problems and opportunities for smart designers to exploit. This is because transparency is implemented using a very versatile blending system, which can be put to use in tons of different ways.

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