Ways of Seeing Playlist

This week’s exercise consisted of watching all the advertising that bombs our subconscious every day. It’s something that I try not to give too much antencion because I find it annoying and invasive. They are full of messages to try to make you feel better in exchange for something, or to induce a thought or feeling in order to get your money. I think it should be banned in public areas and that it is an attack on our freedom of thought. Advertising should only reach you if you ask for it not by the obligation of another… Maybe in the near future I will develop a 3D project related to the subject.


The first part of the exercise consisted of counting the amount of advertising or any other type of message, back home… Obviously that number exceeds the number of… 999999999999999999999?

Then I have to answer if any of those make me envious.
I have to say no, envy does not produce me. They produce anger in some case, or just indifference and sometimes there is some poster of some event that can call my attention.


  • Start your next journing with us foster witg bristol (post)
  • Doctor Sleep (Bus)
  • Bristol festival of ideas (Door)

These are the 3 examples I’ve taken, I honestly don’t consider myself the target of any of them. It could be that the last one, because it has caught my attention. I could even be the target of the first one even if I don’t know it… They are offering me a new and better job, the apparent possibility of improving my life.

Luckily I don’t watch TV, so I get rid of the advertising bombardments over there. And with regard to web messages I usually have them blocked too. I still have hope in privacy. Although seeing how things are we are entering a world where companies know us better than our friends and the power it gives them over people I do not like anything …

The Bubble Project

The Bubble Project, as proclaimed by its manifesto, aims to counteract corporate marketing and advertisement messages in public spaces.

The project was conceived by Ji Lee, an artist and art director who originally printed 15,000 stickers that look like speech bubbles used in comic strips. He posts these blank speech bubbles on top of advertisements throughout New York City allowing anyone who sees them to write in their comments and thoughts. By filling in the bubbles people engage in the project and transform “the corporate monologue into an open dialogue”. After time passes, the comments are photographed and posted on the project’s website.

The Bubble Project has quickly gained popularity and independent efforts have sprung up in other parts of the world in countries such as Italy or Argentina.

On June 1, 2006, a book written by Lee himself was released. It explains the whole idea behind the project and shows the best pictures taken in the first 4 years, showing the results of the project.



Starting With Animation

Hoy hemos dado muy brevemente y por encima Animate, Otro programa de adobe. Hemos aprendido conceptos basicos como:

  • Crear un Proyecto
  • Aniadir formas basicas
  • Crear Motion Tween
  • Crear Motion Form

En la practica he intentado utilizar todo lo aprendido en un solo proyecto. Y aqui el resultado!

Aqui dejo los Pasos a seguir para crear esta animacion

Primero abrimos desde Template y seleccionamos la opcion marcada:

Despues Nos vamos a la herramienta de seleccion de forma y Creamos un Rectangle por ejemplo. Ahora nos vamos a la linea de tiempo y clickeamos con el boton derecho en la capa de nuestro objeto y pinchimos en Motion Tween. Esto Creara una animacion desde el punto inicial hasta el punto final, y cambiara los atributos que hayas querido cambiar, como posicion y forma

Si haces doble click en la capa del objeto se te habre la edicion grafica en la cual puedes hacer retoques mas finos de tu animacion.

Ahora vamos a crear una transformacion de capa, desde un Rectangle a un circulo.

Para ello Primero creamos el circulo, despues nos vamos a nuestra linea de tiempo y agregamos un blank key Frame.

Finalmente agregamos un nueva forma en ese KeyFrame.

y finalmente vamos a clicar con el boton derecho en nuestra capa y ahora pinchamos en Shape Tween. Esto creara una transicion entre la forma inicial y la 2 forma. Como yo tambien cambien la posicion, el objeto se desplaza y cambia al mismo tiempo.

Task 1: Critical Comparison of Research Tools, Methods and Sources

Before starting a Research we need to be clear about what we are looking for.

The important thing is that when a possible research topic is raised, the researcher asks three questions:

  • What do I want to investigate? (Definition of the problem),
  • What do I want to investigate him for? (Objectives)
  • How am I gonna find out? (Methodology).

The purpose of the methodology is to understand the research process and not the results.

Other skills that the designer may have is to develop their own methodologies. You should be able to choose the most suitable method for the research, such as the something you will give you and the techniques and tools you will use to obtain data.

Collection Tecniques MindMap

Primary Resources Vs Secondary Resources

Primary research involves the study of a subject through firsthand observation and investigation’.

For the primary research for example you could have a file or folder notes from each contact can be separated by a contact sheet or document which gives the name of the person, the date and time you met and a contact number or address.

Secondary research involves the collection of information from studies that other researchers have made of a subject’
In the secondary research file or folder each page of notes or document can be headed by details of the publication in the same format that will be used in the bibliography – author and initials; date of publication; title of publication place of publication and publisher. If it is a journal article, remember to include the name of the journal the page numbers of the article and the volume and number of the journal. It is also useful to include the location of this publication so that it can be found easily if needed again (website or library shelf location).



DAWSON, D. (2019). INTRODUCTION TO RESEARCH METHODS 5TH EDITION. [Place of publication not identified]: LITTLE, BROWN.

Dolowitz, D., Buckler, S. and Sweeney, F. (2008). Researching online. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Guides.lib.vt.edu. (2019). Research Guides: Research Methods Guide: Research Design & Method. [online] Available at: https://guides.lib.vt.edu/researchmethods/design-method [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

porojmartinez. (2019). Tecnicas de Investigación. [online] Available at: https://porojmartinez.wordpress.com/2011/06/12/tecnicas-de-investigacion/ [Accessed 15 Oct. 2019].

Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

Tale-of-tales.com. (2019). Tale of Tales – Realtime Art Manifesto. [online] Available at: http://www.tale-of-tales.com/tales/RAM.html [Accessed 15 Oct. 2019].

Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

WorkShop 0007 Animated Gifs

Bouncing Ball

We started today to create gifs in photoshop. Here are the class examples.
I decided to make the ball bouncing, because I’ve been reading about it for a long time, I’ve always wanted to do this animation, but I’ve never started with the basics. On the other hand The impossible perspective has always caught my attention, so I tried to create one.

Perspective Imposible

We also did a stop motion exercise. Since I don’t have a Smartphone and Elisa also, we took photos directly and then exported it to PhotoShop.
After taking the photos we realized that we had a lot of photos! And the laziness has attacked us, so I searched how to Import the files into Stack. Link.
But we had a problem, the files were too big and as a result the program took too long to load. So we created an action in PhotoShop.

How to create Acction on PS

After that we want to do that to all photos that we have, so for that,

Go to File > Automate > Batch. In the Play section, select your action.

In the Source section, choose the folder with your photos.

In the Destination section, choose your empty folder.

After That we Import the Images via Open> and at bottom on the windows there is a Button (Options) click on them and then Click box Image secuence.

An that’s It!
The StopMotion Sort is about One Student Murlock that want to ask something to the big Duck, But the duck dont take too much care about little’s murlocks. So the Murlock try to get hight say hello to the Duck, but he fall down and can not get him meta.

StopMotion Task

// Links


Professional Practice Tasks

Today I’m going to reflect on what career opportunities I’d like to focus on. After browsing for a while on the website www.screenskills.com I have seen a lot of possibilities. I have to say that for a moment, so many possibilities have made me anxious a little. But I have managed to reduce the profiles to 6! I have ordered them according to interest! But being realistic the first one I see it far away. But somehow I would like to do something related to AI programmer or 3D modelling.. or… ts… i dont know. ARGGGG!

  1. AI programmer
  2. Graphics programmer
  3. 3D modelling artist
  4. Game Play Designer
  5. Games animator
  6. Gameplay programmer

Research Oportunites

Jake Basteninfo@jakebasten.co.uk



UKOne-Stop shop for Interactive Audio – Sound Design, Music Composition, Audio Implementation in Games, Audio Coding (Building Interactive Audio Systems & real-time audio DSP effects), C# Programmer, Sound Recording, Audio Editing, Unity, FMOD, Wwise etc.

Thomas Williams


UKMusic and Sound Design, Interactive Installation Work

Aardman (Digital dept)

George Rowegeorge.rowe@aardman.com
0117 307 1369

Gas Ferry Road, Bristol,

UKGame development (HTML5, Unity, Flash), game consultancy

Catastrophic Overload Ltd

James Letherby – james@catastrophicoverload.com
Josh Burr – josh@catastrophicoverload.com


Bristol, UK

Indie game dev duo (code/graphics) focussed on creating werid and wonderful games

Codebyfire LtdRich Wallis – rich@codebyfire.com


Bristol Games HubSmall studio building strategy games for PC.

Force Of HabitAshley



Bristol, UK

Rapid prototyping, sound design and “game feel”. (C++ / Web)




AI Programmer

AI programmers create the brains of the game. The non-playable characters (NPCs – the ones that are not controlled by a player) need to make decisions and behave in ways that are believable, exciting and present the player with varying degrees of challenge. The role of the AI programmer is to write the code that outlines the way these characters operate.

Necessary Skills:

  • Programming: Have a very high-level of programing ability, adapt new scripting languages, understand the requirements and constraints of game consoles, Pcs, handhelds and mobiles
  • Maths: Have outstandings maths abilities, strong analytical and problem-solving skills
  • Psychology: Understand how characters are likely to behave
  • Knowledge of gameplay: understand how the behaviours (hábitos) of the characters will enhance the player’s experience and strengthen (reforzarse) the authenticity of the game.
  • Innovation: be able to develop cutting-edge (vanguardista, puntero) systems and use them in a creative way.
  • Communication: be able to share expertise in writing and verbally with other member os the team.

    What to Study:
  • Physics
  • Maths
  • Computer Science
  • Psychology

GamePlay Designer

Gameplay designers are responsible for the central part of the game experience – how it plays.  They design the mechanics of the game – how high a character can jump, how long it takes to accelerate to maximum speed or when you can gain points. They plan and define the game’s structure, its rules, characters, objects, props and vehicles and think about different modes of play, like story mode or multi-player.

Necesary Skills:

  • Knowledge of gameplay: imagine the best gameplay or game mechanics for the experience
  • Diplomacy: Know when to compromise in the face of manu different opinions about how a game should develop
  • Knowledge of game engines: nderstand games engines an their abilities and limitations, have some programming skills and knowledge of UX an UI
  • Collaboration: Work Closely with the lead designer, gameplay programmer, AI programmer: art department and other programmers
  • Communication: explain how the game will be played in a way that everyone understands
  • Project management: plan the producion of the elements of the game

    What to study:
  • Art
  • Art and design
  • Graphic design
  • Graphic communication
  • Computer science
  • Mathematics
  • Physics
  • BTEC Diploma in Computing

3D modelling artist

3D modelling artists create the models for all 3D art assets within the game – characters, weapons, vehicles, furniture, trees, rocks and so on. They often start with a brief or 2D drawing from a concept artist and build their 3D models from that.

Necesary skills:

  • Using 3D software: create artwork using a range of programmes, know the latest technologies and techniques
  • Using game engines: implement art into game engines, understand their technical constraints and possibilities
  • Art: have strong artistic ability, good understanding of form, colour, texture, and light, know how these elements work together
  • Knowledge of gameplay: imagine how a character or vehicle will be experienced when a game is being played
  • Collaboration: work well with the other artists, designers and producers
  • Organisation: work within the production schedule, manage files and meet deadlines

    What to Study:
  • Art and design
  • Graphic design
  • Graphic communication

Graphics programmer

Graphics programmers are dedicated to ensuring the game looks as good as it possibly can. They want fire to look like fire, water to look like water and skin to look like skin. This means making the graphics as detailed as possible without impacting on the speed and playability of the game.  The job is all about maths, rendering and optimisation.
Necesary Skills:

  • Graphics: implement techniques and processes that meet the artistic, design and technical requirements of the game
  • Maths: understand the logic and maths that underpins most graphics processes
  • Programming: write strong code that’s easily understood by fellow coders
  • Innovation: imagine and develop ways of improving the graphics
  • Knowledge of games engines and platforms: understand the different constraints of games consoles, PCs, handhelds and mobiles
  • Communication: work with other programmers and artists

    What to Study:
  • Maths
  • Physics
  • Computer science
  • Graphic design
  • Graphic communication
  • Art and design
  • BTEC Extended Diploma in Creative Digital Media Production
  • BTEC Diploma in Computing

Games animator

Animators take the objects created by 2D and 3D artists and breathe life into them by making them move. Working from the designer’s storyboard, they create the movements for characters and vehicles. They add personality, emotion and realism to the game.
Necesary skills:

  • Art: draw and reveal attitude, emotions and mood through a character’s movement, have spatial awareness and a feel for movement over time
  • Knowledge of gameplay: understand how movements will appear when played within the context of the game
  • Knowledge of games engines: understand how to create an animation that works within an engine’s technical constraints
  • Communication: be able to respond to direction and share ideas with other team members
  • Organisation: work within the production schedule, manage files and meet deadlines

    What to Study:
  • Art and design
  • Graphic design
  • Graphic communication
  • Computer science
  • Maths
  • Biology
  • BTEC Diploma in Computing

Gameplay programmer

Gameplay programmers write the code for the interactions that make a game fun to play. While lead designers decide on the combat, gameplay programmers make it happen.

They work with level designers to see what needs to be done to make the gameplay work. They write the rules that govern what objects do and pay attention to balancing and tuning of the way the game plays. They also fix bugs and optimise the game for playing.
Necesary Skills:

  • Programming: be highly proficient in programming, finesse levels and seamlessly integrate scripts
  • Knowledge of gameplay: imagine the best gameplay or game mechanics for the experience
  • Knowledge of game engines: understand games engines and their abilities and limitations
  • Collaboration: work closely with the lead designer, gameplay programmer, AI programmer, art department and other programmers
  • Communication: work with the team, establish and document best practices for scripting and delivery of assets

    What to Study:
  • Maths
  • Physics
  • Computer science

WorkShop 0006 Research Task

Before you could fight dragons, sail the seven seas, experience war, or transport yourself to another world in the comfort of your living room, there were amusement arcade games, one of the biggest successes in 1970s and 1980s pop culture.

Rebecca Northfield

Research task

The basics of starting a search can sometimes be a bit complicated, either because you don’t know where to start or you don’t know WHAT to look for, because you’re not clear.

I have to choose a design principle that we have worked on before, take 1 set Retro Arcade and another Classic adventure. And look for that design principle in these games. And compare their meaning.

After looking for information about them I have to do it with my own, My Restro game, and my Story Game.

After a while, and take a look at WorkShop 0003 Design Principles , I discovered that a principle was missing in it! Rhythm! Somehow I forget to write it in my homework… I think this is a se;ar to dedicate more time to this principle, so my Research will be based on…

How to get player’s attention

we must not confuse: immersion and attention.


An immersive game makes you feel like you’re there, but the attention makes you want to be there. So our goal is attention, but… how do we get this attention? The two most vital aspects to keep in mind to achieve this goal are to have a good flowchart and to properly follow the design structures of our game.

Which Game to Choose!

After dedicating a few hours to the search of which game I would like to do the research, I have not found yet a clear objective, nevertheless I have learned enough about the history of the retro games and of the coin-operated Games.

Everything started with the creation of a Submarine Emulator.

This is when American businessmen Martin Bromley, Irving Bromberg and James Humpert formed Standard Games (now Sega) in Hawaii and made coin-operated amusement machines for US military bases.

It is said that from the late 1970s to the mid-1980s was the “golden age” of arcade games, when this type of entertainment was a superpower in popular culture. Space Invaders (1978), Vector-based Asteroids (1979) and Pac-Man (1980) were the highlights of this period.

I’ve read about different old titles, classic arcade, I’ve been watching Game Plays videos, and reading a bit about their History, creative process… But I couldn’t decide for any of them. Among the ones I’ve been reading are. Dungeon Master, Labyrinth: The Computer Game, Space Invaders, Tron, and Lemmings.

As principle of the design that I have chosen is the Rhythm, observing some of these previous ones, Some of them lack totally of it as it is the Case of Dungeon Master and Labyrinth. Where I suppose that for the time would be a novelty and quite entertaining when developing an interactive story, but on the other hand I think they could have made more effort in the sound, or some music to accompany the game. Honestly I saw the GamePlays of these previous directly I was sleeping.

On the other hand I’ve been looking at Tron, This however regarding sound and rhythm has enough. Although, from my point of view, it seems to me a little garbage and an attempt by Disney to make money from different sides. A game with 4 apparently meaningless minigames based on the movie. Anyway, I didn’t want to dedicate any more time to it. I didn’t like it.

So I finally decided on Space Invaders and The Lemmings.

Rhythm on Space Invaders and Lemmings

In space invader I feel like I have to be playing, I have to be attentive, the game keeps me there. The movement patterns of the invaders keep the attention, a rhythm, that the player can foresee after having played for a while. The sound also accompanies it, which helps with the immersion. There is action! Reflexes!

As we kill the invaders, their speed will increase, making reaching phase 5 quite complicated. It’s a classic to be left with just one invader, who goes from corner to corner watching as you miss shot after shot and is gaining ground, something that coupled with the music of the game, creates an atmosphere of increasing anguish at all times. Perhaps, to say music is to say too much, because during the whole game we only hear four tones that are repeated again and again, and faster each time.

What causes ships to go down faster was produced by a glitch but it was kept because the programmer considered it “made the game more interesting”.

GamePlay Space Invaders

The success of this video game is legendary, in Japan there began to be a great shortage of coins, since they were used in video game rooms. The government had to increase the number of coins to cope with the emergency.

In Lemming, the rhythm of the game is also managed very well, they use music to accompany the movement of the Sprites. The lemings when activated always go to the rhythm of the music.

Both games try to combine the Elapsed Time, with the movement of the sprites and the Sound. It is obvious that no matter how good a game is, if it doesn’t have rhythm, it gets tired and boring before. It is more difficult to submerge in it.

My Own Games

Umai and Roots

In my games, both in Maze and in the story, I think the rhythm is conspicuous by its absence… Maybe the game Umai has more rhythm thanks to the Sounds, the direct interaction with enemies, the deaths and the coins. I tried to give it some more life also with the music but, somehow, I have the feeling that they are not in harmony. I feel that they are not really synchronized music/movement/effects. I don’t know exactly how I could do that to synchronize them in a more accurate way.

I finally found a solution! speedup the BPM of the song! And that’s it!

Although for being the first game I have to say that I am quite happy with the pace of the game. I would also have to put more levels and movements to our enemies for a bigger immersion. The first music is hidden, and you only discover it if you press a specific button. So only the curious will be able to hear music and discover the story!

On the other hand my game StoryTelling (Roots), totally lacks Ritmo, was not created for it. I honestly didn’t think about any of the principles of design when developing it. I focused more on trying to create a story and learn a little how to play with the possibilities that Twine gave me. That the story would follow a flow… so to speak… organic! I think that if the interactive stories, just text, must have a lot of rhythm that must come from the Narration because clearly the player if you do not sleep … You should play several times and see at what points the time feels slow, or in which places there is too much information followed and try to split it into steps that make the player think and interact more.


All this research has made me see how the world of video games emerged and how they have evolved in so many aspects. Video games have changed a lot until today. But in a certain way They are attempting to get back to what happened in the days of the Coin-Games. Play for micro payments. In the past it was done mechanically and now little by little the same, but in a virtual way. It is ironic.

Regarding the principle of the design I have chosen, I feel from my point of view, which is one of the most important. It may be that other design principles are not so well used, if your game has rhythm! Will have attention!

And finally I want to share a Retro game that I have found looking for the concept of Rhythm in video games in which you only have to press a button to follow the Rhythm of different songs!

One Button Game about Rhythm


Arcade-history.com. (2019). Space Invaders arcade video game by Taito (1978). [online] Available at: https://www.arcade-history.com/?n=space-invaders&page=detail&id=2537 [Accessed 9 Oct. 2019].

Eandt.theiet.org. (2019). Gaming’s golden age: top 10 retro-vintage arcade classics.[online]
Available at: https://eandt.theiet.org/content/articles/2018/07/gaming-s-golden-age-top-10-retro-vintage-arcade-classics/ [Accessed 9 Oct. 2019].

En.wikipedia.org. (2019). Tron (video game). [online] Available at: https://en.wikipedia.org/wiki/Tron_(video_game) [Accessed 9 Oct. 2019].

Gamesupm.com. (2019). Seminario sobre la estructura y ritmo en el videojuego. [online]
Available at: http://www.gamesupm.com/noticias/45/seminario-sobre-la-estructura-y-ritmo-en-el-videojuego.html [Accessed 10 Oct. 2019].

Javalemmings.com. (2019). The Lemmings Story – Part1. [online] Available at: http://www.javalemmings.com/DMA/Lem_1.htm [Accessed 9 Oct. 2019].

Maher, J. (2019). » Dungeon Master, Part 1: The Making of The Digital Antiquarian. [online] Filfre.net. Available at: https://www.filfre.net/2015/12/dungeon-master-part-1-the-making-of/ [Accessed 9 Oct. 2019].

Space-invaders.publijuegos.com. (2019). Space Invaders. Todo sobre el juego clasico Space Invaders.. [online] Available at: http://space-invaders.publijuegos.com/ [Accessed 10 Oct. 2019].

TAITO Corporation. (2019). SPACE INVADERS IS BACK!| TAITO Corporation. [online] Available at: https://www.taito.com/si-attraction [Accessed 10 Oct. 2019].

WorkShop 0005 StoryTelling

I have enjoyed this Workshop a lot, and I would have enjoyed it more if I hadn’t had to start it again 3 times. The first time, I forgot to save it, or I didn’t save it, I don’t remember it well. And the second time I had a weird supper bug in which all the Passages() were blocked and I couldn’t edit them.

But anyway I have to say that repeating it 3 times has helped me to find out how many macros, code, css and ways to tell a story work.

Root – Interactive History.

For my interactive story I’ve been a little inspired by the game “The Standly Parable.” Or somehow try to show the Narration as they did in this game. I have discovered that it is not easy to tell a story with rhythm, only with words and a few links… You need to get the person’s attention and not get bored. On this subject I have to investigate and learn even more.

On the other hand I have seen that Twine is a great tool, not only to create Interactive Stories, but as Story board with code. This is great. Because I see it as a great way to prepare your projects, and then move them to other platforms.

//Three Act Structure

It took me a long time to get started. I knew approximately what I wanted to tell, but I didn’t know which way to go or which routes I wanted, how many characters, if my characters were going to talk a lot or not. The only thing that was relatively clear was the protagonist and the finals.


It was stuck and I couldn’t go on. But thanks to my partner Elisabella I managed to continue my interactive story. She recommended me to do the Three Act structure. And there to go putting the strongest points of my history. And from then on I added more and more information, more text and more possibilities.

This methodology for narrative has enchanted me, it has made me see that stories can be taken out of the mind, in a more orderly and meaningful way.

Walking Dead

The Standly Parable

// Time Code

:: StoryTitle
Delayed Text in SugarCube

:: Start
<<timed 5s>>
It has been 5 seconds. Show the text!

//Locks and Doors

:: StoryTitle
Lock and Key: Variable in SugarCube

:: Start
<<set $key to false>>

[[Back Room]]
[[Front Room]]

:: Back Room
<<if $key is false>>
    <<linkreplace "Pick up the key">><<set $key to true>>You have a key.<</linkreplace>>
    There is nothing here.

[[Front Room]]

:: Front Room
<<if $key is true>>
    Locked Door

[[Back Room]]

:: Exit
You found the key and went through the door!
<<link "Open dialog!">>
        Dialog.wiki("Text within the dialog window");

//Open Dialog

I used that Script to open a window, when pick up a object.

// Stadistics

This code modifies variables on screen, and updates them, to check them later. Although I have not used this code, I have left it here because I found it interesting enough to use in the future. Who knows.

:: StoryTitle
Player Statistics in SugarCube

:: Start
Empathy: \
<<link "[+]">>
    <<if $totalPoints gt 0>>
      <<set $empathy++>>
      <<set $totalPoints-->>
      <<replace "#empathyStat">><<print $empathy>><</replace>>
      <<replace "#pointsStat">><<print $totalPoints>><</replace>>
<<link "[-]">>
    <<if $empathy gt 0>>
      <<set $empathy-->>
      <<set $totalPoints++>>
      <<replace "#empathyStat">><<print $empathy>><</replace>>
      <<replace "#pointsStat">><<print $totalPoints>><</replace>>
Intelligence: \
<<link "[+]">>
    <<if $totalPoints gt 0>>
      <<set $intelligence++>>
      <<set $totalPoints-->>
      <<replace "#intelligenceStat">><<print $intelligence>><</replace>>
      <<replace "#pointsStat">><<print $totalPoints>><</replace>>
<<link "[-]">>
    <<if $intelligence gt 0>>
      <<set $intelligence-->>
      <<set $totalPoints++>>
      <<replace "#intelligenceStat">><<print $intelligence>><</replace>>
      <<replace "#pointsStat">><<print $totalPoints>><</replace>>
<<link "[Reset Points]">>
    <<set $empathy to 10>>
    <<set $intelligence to 10>>
    <<set $totalPoints to 5>>
    <<replace "#empathyStat">><<print $empathy>><</replace>>
    <<replace "#intelligenceStat">><<print $intelligence>><</replace>>
    <<replace "#pointsStat">><<print $totalPoints>><</replace>>

Empathy: <span id="empathyStat">10</span>
Intelligence: <span id="intelligenceStat">10</span>
Remaining Points: <span id="pointsStat">5</span>

[[Test Stats]]

:: StoryInit
<<set $empathy to 10>>
<<set $intelligence to 10>>
<<set $totalPoints to 5>>

:: Test Stats
<<linkreplace "Make an intelligence check?">>
    <<set _result to random(1, 6) + $intelligence >>
    <<if _result gte 15>>
    Intelligence Success! (_result >= 15)
    Intelligence Failure! (_result < 15)
<<linkreplace "Make an empathy check?">>
    <<set _result to random(1, 6) + $empathy >>
    <<if _result gte 15>>
    Emaphy Success! (_result >= 15)
    Empathy Failure! (_result < 15)


:: StoryTitle
Programmatic Undo in SugarCube

:: Start
[[Enter the Darkness]]

:: Enter the Darkness
<<back "You are not ready! Go back!">>

//Creating Headers And Footers

//You have to create a Passage with name as showing down.

:: StoryTitle
SugarCube: Headers and Footers

:: Start
This is content between the header and the footer.

:: PassageHeader
This is the header!

:: PassageFooter
This is the footer!

I wanted to create a Header on all pages because I want the player to have access to his inventory at all times. and be able to go back and continue.

I have also added an If to check if the current passage is inventory, so that the inventory link does not appear in inventory….. Loop!

// AddItemsInventory

After a little research I finally found a way to add items to my inventory with a click! the command I used is <> that receives text, and you can add in half what you want to happen when the player clicks. In my case I have added it.

<<if $inventory.indexOf("Scissors") == -1>>
		<<link "There is a Scissors here. ">>
		<<addToInv "Scissors">>
                <<goto [[Scissor]]>>
<<set $pass to previous()>>
	<<if previous() is "izquierda">>
			<<if $bucle === 2>>
			<<set $bucle to $bucle + 1>>
				2 [[izquierda]] 
				vamos por el <<print $bucle>> paso

		1 [[izquierda]] 

//RnG Choice

The moment Thinky leaves the house he has to decide whether or not to dodge! This attempt to dodge I have generated with the random() function, then check if X has come out, send it to a step and if it has generated another send it to another side.

The Code finally look like that:

	<<set _esquivar to random(2)>>
		<<if _esquivar is 0>> 
			<<set _out to "correr">>
			<<set _text to "Consiguio agacharse rapidapente y esquivarlo, el hombre tropezo, y se callo al suelo. Thinky aprovecho para ">>
			<<set _out to "Continuar">>
			<<set _text to "Thinky intento exquivarlo como pudo, pero fue demasiado lento y fue empujado hacia la carretera. ">>
                <<linkappend "esquivar. " t8n>>
                   <<print _text>> <<link _out>><<goto _out>><</link>>

//Funcion previous()

Using this function I’m giving dynamism to the story so that the character passing through the same places, have different events. But I have discovered a problem. And is that if you return with the macro <<back “back”>>, the function does not save anything.

So instead you have to use [[Back|”passage”]], using it so if you load the name.




// Twine Hosts


Music: Baclou [Full Length Dark Ambient Album], Moloch Conspiracy