TOM FRANCIS
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Gunpoint’s Release Date

I’m going to stop estimating it. I’m always wrong, as you’ll have noticed, and however much I forewarn you about that, I hate having to change the ETA again and again. It feels like I’m artificially creating a constant stream of bad news for you guys, about a project that’s going incredibly well, is fun to do, and that I’m making quickly and efficiently. Continued

Gunpoint’s Possible Art Styles

It’s humbling and overwhelming to have a bunch of talented people throw stuff at you. Content-wise, I mean. I’ll stop gushing about it now, though, and just show you the best of what I’ve seen. Sorry to anyone who submitted stuff that isn’t featured here – I have the enviable problem that to feature everything would actually grind development on the game to a halt, so I’ve had to be more ruthless than I’d like. I’ll split this into Character art and Setting concepts.

 Ethzee

EthZee’s main character mockup is exactly what I was hoping to get – something not a million miles from what I’ve got, but correctly proportioned, nicely shaded, and animated. I love that he used treadmills to explain why the walking and running animations stay on the spot.

Michael Hussinger

Michael’s stuff is amazing. It puts me in mind of some sublimely quirky French adventure, full of excitingly atypical characters. I tried to see a way it could gel with the mood and feel of what I have in mind for Gunpoint, but I couldn’t. I really hope he can use this guy, and the others he made in a similar style, in a future game.

Teck Lee Tan

I particularly love Teck’s second take on the hero. It’s based on a sprite he did of Mal Reynolds from Firefly, and it’s awesome that even at this resolution, you can kind of tell.

Michael Hodkinson

I am scared of this. Definitely one of the most original takes on what the character could be.

Dan Lowe

Dan, an artist at Bizarre Creations until they went under, did the awesome sprite above in the comments here just for fun. He can’t actually do the art for Gunpoint since he’s busy applying for jobs, but he had a go at reducing it down to the 24px size of Gunpoint’s other characters anyway, and it’s somehow even cuter.

John Roberts

The sprite above is the first thing John sent, his take on the ‘professional killer’ enemy type with an android twist (I hadn’t set out my full specs for the setting at the time). It’s one of the rare pieces of art that, even in isolation, just makes me think “Holy fuck I want to play that game.” I’d be this guy, I’d fight this guy, I don’t care, I just want to be playing around in a world with things like that. The guys below that are what the more conventional guards would look like: lean, capable, cool.

Eric Heitman

Eric’s a professional who’s worked on a lot of big licenses, which might explain why his version of the player character does such a perfect job of capturing what I was trying to do with my original art. I tried to do something cartoony in style without being silly, and that’s exactly what he’s pulled off.

Chris

If there’s ever a Nintendo DS version of Gunpoint, this is definitely what it should look like. I like the cleaness.

Condi Buggle

A great character, a little smarter than the Columbo-like slob I was imagining. I can picture him jabbing someone with his umbrella to release a slow-acting poison, and that’s a quality I like in a sprite.

 Curt

Great to see a complete take on it – some of the things I don’t like about my placeholder stuff, like the beige walls, actually look fine once there’s some well-drawn detail in there. Glass-backed elevator is a cool idea.

Chris

A nice selection of interesting environment types here – I think big windows facing out onto the city are a must, and I really dig the giant Pollock in the modern-looking office below.

Graeme Moralee

This is about as clean, clear and cute as the game could possibly get – I don’t have to magnify it, or even really open my eyes, to see every detail. The cityscape is lovely, as is the sparkly rain, and the whole thing has a nice cohesiveness. I can’t quite figure out if the mood of the game would clash with just how adorable these guys are.

John Roberts

If you ask John (who did the awesome trenchcoated android) if he’s interested in doing any environment art, this is what you get back the next day. It looks like a finished game. An amazing amount of detail – the cleanness and bursts of colour remind me simultaneously of Aperture Science and Mirror’s Edge, which is sort of saying something. Click through for the bigger versions of these. The Crosslink mode is so much cooler than the way I imagined it, making it something you’d be excited to switch to rather than an ugly but necessary mess.

Beldak

Such an amazing city backdrop. Has the gloomy, ominous mood I was going for, but is also just slightly futuristic and strange – these tall lit towers are unusual architecturally, and it gives the place an intriguing atmosphere that makes you want to explore it. I’m so set on rain being a big part of the atmosphere on some levels that I’ve been thinking of having varying strengths of it – it’s such an easy win on the audio side, and if heavy rain can look this cool, it’s definitely worth it.

Despite the ridiculous level of talent here, I’m pretty close to a decision. I’m just waiting on a couple of samples to see how certain styles work with certain elements, and I’ll know once those are in.

In the end, it’s come down to style much more than quality – quality just isn’t an issue when so many are so good. Any of these styles would make an awesome looking game, so I just have to go with whoever happens to click with the style and tone of the aspects of the game I’m doing on my end.

Gunpoint Video Blog: Story Vs Games

I talk a bit about games vs stories: how they end up ruining each other, and how I’ve tried to avoid that in Gunpoint.

I mention the gender of the main villain in Gunpoint in this, but it won’t tell you much.

Gunpoint Trailer: Let Me Talk You Through Some Ridiculous Solutions

It’s been eight months since the first Gunpoint video, and it looks rather different now, so I’ve made a new trailer. I’ll talk you through the basics and then some of the most complicated solutions I’ve come up with, just to give you an idea of the stupid stuff you can do when you mess around with Crosslinking.

Something I forgot to mention in the blurb at the end: if you write about games and want to write about Gunpoint, please do get in touch and I can send you a playable build next time I have one ready for previewing. It should be pretty soon now. Also always up for answering any questions and stuff. People who write about games are probably the best people on Earth.

In the video I ask if you think Gunpoint seems like it’s worth money. If you have an opinion, let me know in the comments here! I am trying to figure out the right balance between being a) nice b) fair and c) not an idiot.

Gunpoint Trailer: Gadgets And Steam

Who do you play?

You’re a freelance spy, and your clients hire you to steal sensitive data or technology.

What do you do?

You break into high security buildings by rewiring the electronics. You can use a Crosslink gadget to see how all the lights, switches, cameras and doors are wired up, then drag a connection from one to another to make them work however you want.

Example?

• You come to a security camera and a locked door.
• Switch to Crosslink mode, and you can see the camera is wired to an alarm – if it sees you, the alarm will bring a guard running.
• So you drag a connection from the camera to the door.
• Now when you walk in front of it, the door swings open instead of the alarm going off, and you’re in.

Say I’m vaguely intrigued. What do I do now?

Join the mailing list! I’ll update you when I have a release date, a new trailer, demo, etc. If you’re also interested in behind the scenes stuff and obtuse jokes about programming, follow it on Twitter.

As ever, I don’t have a release date, but you can to be told when it’s out.

Gunpoint Steam Achievements

Gunpoint has 44 achievements on Steam – that’s only 5 less than Deus Ex 3. Only one is inevitable in a given playthrough, and that’s for completing it.

The rest are a mix of acknowledging very distinct playstyles, encouraging you to try new gadgets, recognising insane, obsessive or impressive decisions, letting you know certain feats are possible, and in one case helping you understand what just happened (some testers don’t realise what’s happening when they make an infinite loop in Crosslink).

A few are secret to surprise you, and a few are secret to avoid plot spoilers. These are the rest, with their magnificent icons by our artist John Roberts: Continued

Gunpoint Screenshots

This is a split shot showing how the same level looks normally and in Crosslink mode. Crosslink mode is what you switch to to rewire the electronic bits of a building: you can see what everything’s hooked up to, and drag these connections around to make the level work the way you want it to.

Everyone in Gunpoint dies in one gunshot – even you – and the guards are extremely accurate. A good plan doesn’t involve giving them the chance to shoot at you. This – this was a bad plan.

The colours that devices glow tells you what circuit they’re on. Things on different circuits can’t be linked to each other, and some high security circuits require you to get to their circuit box and tap into them manually before you can rewire stuff. There’ll be a colourblind mode where circuits are distinguished by symbols, too.

If you can get the jump on them, you can throw yourself into guards pretty hard. Windows won’t stop you.

Guess I got shot a lot testing this level.

You can use Crosslink mode to set up ridiculously elaborate chain reactions, and even infinite loops of devices triggering each other. I try to make sure that the super advanced stuff is never necessary to progress, but there are always extra things to achieve with finesse solutions. This one isn’t a finesse solution, it’s just me connecting a bunch of shit up to make the wires look pretty.

You slide a bit when you land from a powerful jump. I don’t have anything intellectually interesting to say about this, it just feels really cool – particularly if you slip off the edge of a roof and land flat on your face.

Gunpoint Recoups Development Costs In 64 Seconds

I just finished Gunpoint’s third patch yesterday, and a lot of what I need to do next requires outside help. So perhaps I can finally take a minute to tell you how it all went? Continued

Gunpoint Patch: New Engine, Steam Workshop, And More

Our big Gunpoint patch has just gone live on Steam! It converts Gunpoint to a whole new engine and adds Steam Workshop, so you can see all the awesome new missions people have been making in the level editor. They are nuts. We’ll make a version of this update available for non-Steam users as well, but obviously Steam Workshop support only works in Steam. Here are the major changes:

• New engine, implemented by Abstraction Games. Should fix many technical issues and make the game run faster for everyone, and it’ll enable us to develop Mac and Linux versions next.
• Steam Workshop added, for browsing and sharing user-made levels. Yes, we listened to the 1,779 post petition you guys started even after we’d already announced we would do it.
• Option to turn off swearing. Up to you whether this makes “Grow a ####ing #### and shove it up your ###” kid-safe.
• Reconfigurable keyboard controls.
• Vertical sync option. I didn’t know we needed this, but the folks at Abstraction added it and now the animation is at least 23% more beautiful.
• Level editor. The level editor has been in there since launch, but some people still ask for one so I’m just going to keep announcing I’ve added it until everyone knows it’s there.
• You can now place multiple elevators in a level without it crashing. That’s more than I could do when I was making the game, so I expect your levels to be at least twice as good as mine.
• If you have any technical troubles with the new version, you can still use the old one by going to Properties > Betas and selecting ‘oldversion’. Post your issue on the forums too, so we can fix it.

It’s also 75% off for 48 hours! That’ll end 10am Pacific Time on 19/06/2014. That discount applies to all editions, too, so you can upgrade for $2.50 or £1.50. And we reduced the UK and EU prices from the Steam defaults to better match their USD equivalents.

Get it here!

Header image is a screenshot of Breakin 1.2, by [NL] Omgertje.

Gunpoint Patch 3 Is Live On Steam And Humble Store

I’m still working hard on Gunpoint, and our third patch in two weeks just went up on Steam. I’ll update this when the Humble chaps have it up also. Details and future plans!

Update! Now live on Humble Store too. Continued

Gunpoint Patch 2 Now Live On Steam And Humble Store

Update: now live on Humble too – grab it again from the link you got when you bought.

As promised, I just made a second patch live that should address most resolution/screen related issues. Here are the notes! If you bought from this site, I’ll update this post when the new version is available to download. Continued

Gunpoint Patch 1, And Ongoing Support Plans

I’ve finished Gunpoint’s first patch and made it live on Steam this morning. Here’s what it fixes! Continued

Gunpoint Now Has Music

After spending more than a week listening to more than 45 submissions for Gunpoint’s music, I’ve decided to go with Ryan Ike’s cool, moody upright-bass style for Gunpoint’s missions.

There were also two particular songs among the submissions that just clicked perfectly with different parts of the game: for the shop and upgrade interfaces you access on your phone, Francisco Cerda’s gorgeous smooth jazz was exactly what I wanted. And for the game’s more sombre moments, John Robert Matz’s mournful and sinister theme tune was magnificent. So Gunpoint has sort of ended up with three musicians.

Coming to a decision was harder and much more time consuming than I expected. I got more submissions for this than for the game’s artwork, and listening to a full music sample takes 1,833 times longer than looking at a sprite. The more I listened and played, the more I liked less prominent tracks that supported the game’s existing atmosphere.

[soundcloud url=”http://api.soundcloud.com/tracks/29664976″]

Thanks again to everyone who did such awesome work, and sorry to everyone I couldn’t use. I was amazed by the calibre of what came in. Obviously I feel terrible turning anything good down, but I still believe in the open submissions process because I’ve been on the other side of it a few times. Both times I wrote short stories for the Machine of Death collection, it was with no expectation they’d get in – I just did it because I enjoyed doing it. I hope that’s the feeling among everyone who’s submitted stuff for Gunpoint, music and art.

You might remember I also did the same thing for the Crosslink noise, and got some awesome stuff. I’ve decided to use Jeremy Watssman’s smooth warbly sound, which you can actually hear in his music submission video here. I’d also like to use the sound Ben Royle submitted for a different purpose, if he’s OK with that: it makes a great satisfying thunk when spending points upgrading your gadgets. Update: he says, quote, “Fuck yeah!”

Gunpoint in 2010, before it had a title. The filename was just ‘grey’, after the background.

Lastly, I talked a bit about how far Gunpoint has come on and asked you guys if you thought I should charge money for the game when it comes out. I was expecting around 90% of you to say I should keep it free, and if it was as low as 80% I’d start to believe it might be worth something. The figure was around 1%. Over a thousand comments, the vast majority of people said “No! Don’t give us a free thing! Charge us money!”

That’s an amazing and confusing response for me, but you don’t have to tell me twice. Well, you don’t have to tell me more than a thousand times. I will obey your command to charge you money for Gunpoint, though I plan to keep it low and provide a substantial free version. I won’t claim anything specific yet since I’d like to confirm how and through whom I’ll be selling it first, in case they have advice or rules that affect it. I’ve talked with all my awesome art and music collaborators and we’ve agreed on a split we think is fair.

Exciting times! Although the music selection process and Christmas took up a lot of the break, I also managed to build a dynamic system for context sensitive music layers and overhaul the way your gadgets are powered and upgraded.

I still have a few levels left to make, and a fair few more I’m not happy with variety- and fun-wise, so I’ve used some of the time away from my PC to plan out new puzzle ideas, come up with some new gadgets and devices, and figure out which ones will be easy to code and add a lot of fun possibilities.

Gunpoint Now Has Artists, Will Be Art

A million things to say about Gunpoint, but most importantly: please welcome John Roberts aboard as the game’s main artist, and Fabian van Dommelen (Beldak in the comments here) as captain backgrounds and probably additional environment art.

This means the people in Gunpoint are going to look a bit like this:

We’re going to have a chat about it, try some things out, and tweak all this until it fits together nicely, looks clear and readable, and makes you really want to play it. At that point I’ll try to pull it all together into a first proper screenshot so you guys can see what the game’s going to look like.

I’m not kicking into proper “Woo, look at my game!” mode yet, but I have set up a Twitter account: @GunpointGame, to talk about the development, make programming jokes, link other indie dudes I think are cool, and ask you guys for opinions on how some things should work. I’ll also be putting out future calls for testers on there – not sure when the next prototype will be yet.

As you’ll see from the first tweet there, I’ve now got every feature I want in Gunpoint working. This is the fundamental stuff, like:

• Branching conversation trees with player choice
• Mission select menu where new jobs unlock depending on your performance and experience so far
• A shop system where you can buy upgrades and equipment
• Stats that track your performance in a mission so the client can react to how you dealt with it

It doesn’t mean I have the pause menu done or anything looking good, but the full skeleton of the game is there now. The plan for those elements has stayed steady for a long time, but it feels a lot more concrete now I know they all work.

Once we know what we’re doing for the art, my next job is making all the levels. Which means knowing what the missions are about, which means knowing the objectives, which means knowing the clients, which means knowing the key players and their conflicts and characters, which means basically coming up with the story. I’ll put up another post about that probably tomorrow, because I’d like your advice on how to make it not suck.

Lastly, I was interviewed over at Laser Romance, about stuff like why Gunpoint is no longer about a murderous space robot.

As mentioned there, Gunpoint now has a proper URL if you want to link it anywhere: gunpointgame.com. It currently just shows you all the posts here tagged with Gunpoint, but I’ll eventually make it a bespoke site. Incidentally, if anyone knows how to make only posts in the Gunpoint category appear at https://www.pentadact.com/gunpoint with WordPress, I’m having a hard time figuring it out.

Gunpoint Music Submissions Update

Thank you so much to everyone who’s sent in samples for Gunpoint’s music! It’s been exciting to sit here listening to all this awesome work. Some people have asked for a) a deadline and b) a bit more guidance. I mentioned Monday on Twitter – I’d like to extend that to Friday the 23rd of December, since I won’t have time to go through everything thoroughly on a weeknight anyway.

As for b), I don’t want to get too specific about genre or style, because the great thing about this process is that people are always surprising me with things I wouldn’t have thought would work, or just hadn’t considered at all. I will say that you need to put it over the gameplay video, and if your music doesn’t ever change in response to what’s happening in the game, it’ll probably lose out to something that does.

When you’re done, uploading it to YouTube and posting a link in the comments here seems to be the best way to get it out there. E-mailing me a download link is fine too though. I’ll see it either way so you don’t need to do both.

To help out as much as I can, I want to pick out some to he submissions that have come in so far and point out specific things that are awesome about them. This isn’t a best-of list, I won’t decide stuff like that till all the submissions are in. There are some great ones I haven’t included here because they’re just generally good, or because the thing they do well is already covered here.

C418 worked on something called a Minecraft? I am stunned and immensely flattered that he made a sample for Gunpoint, and stunned and immensely excited by how good it is. A few people on Twitter said things to the effect of “Contest over!” – that’s not true. I’m serious about the open submissions idea – if John Williams, Jeremy Seoule and Jesper Kyd sent in samples too, I’d still listen carefully to every submission anyone put their time and effort into, and give them all a fair chance.

The two things I love most about C418’s take are a) the clever transitions between indoors and outdoors – not only adding an extra layer when you go inside, but muffling the music when you leave again. And b) the beautiful crosslink music, and the natural way it builds onto the existing track – I get excited thinking about how switching in and out of crosslink could feel like composing your own music on the fly.

HyperDuck’s take is a great example of subtle game music, focused entirely on atmosphere and tone. There’s a fantastic heartbeat pulse when you pounce a guy, which fades after just the right amount of time. And the tinny muzak in the elevators is hilarious.

A really stylish old-school take, gorgeous upright bass. There’s a huge upkick when you’ve completed your objectives – it might be too dramatic for some levels, but it’s a really cool idea to give the player a “Let’s get out of here!” vibe without actually imposing a hard time limit. It’d also be great for when a gun goes off – at which point there really is a time limit.

This is just one track at the moment, but I love the mood of it, and the way it can turn from an anticipatory, suspenseful tone to an exciting action one smoothly.

[soundcloud url=”http://api.soundcloud.com/tracks/29664976″]

John also made a video, but it’s the full version of this song he wrote for the menus that I want to highlight. It’s a gorgeous, lonely piece of brass, the kind of sad, sinister track you’d hear in one of LA Confidential’s darker moments. If this started playing when you died, I’d probably sit and listen to it before reloading.

[soundcloud url=”http://api.soundcloud.com/tracks/30169493″]

As Ben says himself this piece isn’t really a soundtrack, I’m just including it here because wow, what a great track.

Apologies if I haven’t mentioned yours – it doesn’t mean it wasn’t awesome, because that list would be very long. Thanks again for all your hard work, and sorry if you asked for a reply and I haven’t sent one – my backlog is so huge that I may just have to come to terms with seeming rude to some people. I’ll try to keep up with posts like these to give as much feedback and detail as I can.