GameMaker Studio：实战指南，打造并设计角色扮演游戏(RPG)

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"《在GameMaker: Studio中学习并构建角色扮演游戏》是一本由Ben Tyers撰写的实践性和趣味性十足的书籍，旨在帮助读者使用流行的GameMaker: Studio平台进行角色扮演游戏（RPG）的预规划、设计和编程。作者以一种易于理解的方式指导读者如何为RPG创建故事线，应用视觉风格，并开发核心和扩展游戏玩法。书中详细介绍了如何利用GameMaker: Studio工具，从零开始设计和构建自己的RPG项目。首先，作者会引导你进行概念构思，确定游戏的主题、角色设定和世界观，确保每个元素都符合RPG的沉浸式体验。接着，你将学习如何设置游戏界面，包括菜单、角色选择、装备系统等，以及如何实现基本的战斗系统和任务管理。书中还涵盖了如何编写游戏逻辑，包括状态机、回合制战斗、经验值系统、物品掉落机制等内容，这些都是RPG的核心组成部分。此外，你还将学习如何将作品打包成可发布的应用程序，无论是上架到App Store，还是在Facebook平台上发布，甚至是在PC上运行，以便向更广泛的用户群体推广。此外，版权信息表明，这本书享有2017年的版权保护，所有内容未经许可不得复制或以任何形式重用。作者强调了尊重商标的重要性，书中可能会出现商标名、标志和图像，但未使用商标符号是为了避免过多的法律问题。《在GameMaker: Studio中学习并构建角色扮演游戏》是一本实用的指南，不仅适合希望入门RPG游戏制作的新手，也适合有一定基础的开发者寻求提升其游戏设计技能。通过阅读本书，读者将掌握一套完整的RPG游戏开发流程，有机会创作出自己的原创作品并从中获得收益。"

CHAPTER 1 ■ INTRODUCTION

As for the main character, quirks are important. They could be

• A blue beard

• A wooden leg

• A hook

• Random voices and sounds

The parrot could fly randomly around the level. Upon collision with the parrot, the player might have to

play a mini-game and win before proceeding.

Equally, there could be mini-games/challenges for the other characters, perhaps with the compensation

of some gold coins. Limiting how often a player can play mini-games would be a good idea here.

Additional characters can help develop the plot or just be there for fighting, but the focus should be on

the main game characters.

The game should ideally have several boss characters that the player must defeat before being able to

proceed. Boss characters are usually strong, dangerous, and sometimes accompanied by nameless minions

that also attack. The player should have to learn how the boss moves, where to shoot it, when to shoot it, and

how to avoid its arsenal and minions. If it takes fewer than five attempts to learn the boss’s movement and

defeat it, it isn’t tough enough. Make it harder.

As mentioned already, keep to the theme.

Story – Objectives

Objectives: The goals the player must complete to advance the story

The main objective of this game is to collect 1,000 gold coins so the main character can get off the island.

Providing a variety of ways to collect gold coins is the key here, such as

• Completing mini-games/quests

• Winning battles/fights

• Finding secret areas

• Small puzzles

• Digging for buried treasure

As before, restricting how often/quickly a player can get gold coins is the key here. For example, you

may want to limit battles to once every 20 minutes the player plays the game, or charge the player one gold

coin each time they dig (which prevents them trying to dig over the whole level).

Each enemy should have a different battle game with its own mechanics, to create variety.

Mini-quests could include retrieving 10 mushrooms in the level in five minutes or climbing a mountain to

retrieve a diamond. The more quests you have, the more variety the player will have when playing your game.

Quests and mini-games can be part of the overall story of your game or independent. Some may require

the player to successfully complete them in order to proceed: for example, killing a dragon to get the key

that’s around its neck, which can then be used to unlock a gate so the player has access to a new game area.

A good mix of the two usually works well.

Even for mini-games that aren’t part of the story, it’s generally a good idea to keep to the theme of the

main game. This game is based around a pirates’ island, so things involving boats, ropes, sword fights, digging,

map reading, exploring the island, building a sandcastle, shooting parrots, and that kind of stuff suit it well.

CHAPTER 1 ■ INTRODUCTION

Aesthetics – Choice of Art Style

Choice of Art Style: Must consider how the player sprite is going to be drawn (using either single or

multiple layered sprites)

For this project, we’re going for vector-style art.

The big question is how to implement it. The two main choices are a single sprite for each frame of

animation, or creating the animation using separate parts.

Each has its own benefits and drawbacks.

If your art skills are somewhat limited, then outsourcing your artwork or obtaining pre-rendered sprites

is the way to go. This may limit what your characters can do, but it is (usually) a cheap and effective method.

Using separate sprites allows for greater flexibility in what your characters can do, with movement

limited only by your imagination. The drawback of this approach is that it requires a good understanding of

math and learning other software such as Spine in order to do this in real time in the game.

For single sprites, there are a few options, such as buying custom-made or off-the-shelf sprites, or using

specialist sprite creation software. If you choose the latter option, I’d go for one that supports skeletons.

Sprite software is the middle road here: the basics can be learned within a day and the results can be visually

awesome and very rewarding, but may lack the overall quality you get from hiring a professional or using

premade sprites. Another advantage of going it alone is you can create your own animated sequences, rather

than just the common walk, run, idle, and jump. If you want your character to do a somersault, you can

make that happen. If you want it to rub its belly after eating food, you can also make that happen.

If you want something quickly for a mock-up of a game, then premade sprite packs are the obvious

choice. You can always change the sprites to something more suited to your game dynamics as you proceed

through your project.

Generating animations in real time has its advantages too. But imagine a highly animated game with

20 characters, each with 20 different animations with 20 frames each; that’s 8,000 frames! At a decent

quality that could be around 800MB. This is way too much for tablet- or phone-based games. Using skeletal

animation could reduce that to around 8MB, which is a much better option.

It all boils down to the target platform and how much time you are prepared to put in to learn the

required skills.

Table 1-1. The Main Four Types of Art Styles

Pixel Vector 3D/Pre-Rendered Photorealistic

Positives Cheap to hire an

artist.

Lots of resources

available for free or

low cost.

Short learning curve

if you go at it alone.

Plenty of talented artists

available.

Can be adapted for size

easily.

Huge library online, both

free and licensed.

Can be pre-rendered to

other formats.

Looks cool.

Can be pre-rendered

so it’s quick.

Lots of artists

offering services.

Multiple platforms

use 3D.

Awesome eye-

candy if done well.

Limited by

imagination only.

Can create a

truly immersive

experience.

Negatives If not integrated well,

it can make a game

look poor.

Limited to how much

information or detail

you can portray.

Not suitable for

large sprites or

backgrounds.

A steep learning curve on

making vector graphics.

Limited detail.

Can be slower to process

in real time.

Using vectors in

GameMaker requires

some skill.

Extreme learning

curve for modelling

and importing into

GameMaker.

Expensive to hire

artists.

Minor changes may

take days to get new

sprites.

Can be extremely

expensive.

Not really suitable

for an indie game

developer.

Huge game sizes.

Requires special

graphics cards.

CHAPTER 1 ■ INTRODUCTION

Aesthetics – Scening

Scening: How the story progression is going to be implemented in the game (usually via the use of

cutscenes)

There are various styles of cutscenes. You can get a breakdown at https://en.wikipedia.org/wiki/

Cutscene.

Cutscenes are a great way to provide info to the player. In a RPG it’s now expected that there will be

several cutscenes. Generally speaking, they are non-interactive animated sequences.

The game for this book will have an opening cutscene that explains how the main character ended up

on the pirates’ island. (See the chapter on cutscenes for a working example.)

Additional cutscenes could be added to provide extra information or to explain quests/tasks and mini-

games.

Cutscenes are also commonly shown at the end of the game, as a kind of a reward to the player for

completing it. Sometimes there is more than one possible end scene, depending on decisions made by the

player in the game.

In the game for this book, the main task is for the player to acquire enough cash to get passage off the

island. A great time to show a cutscene would be when the player finds the buried treasure chest.

Other major events could also warrant a cutscene, such as

• Killing a boss enemy

• Finding their first gold coin

• Visiting the in-game shop

• Conversations between a player and other characters

• A way of explaining complex instructions or tasks

A note of caution: not everyone is a fan of cutscenes. Overdoing them can annoy the heck out of people.

You may wish to give players the choice of being able to skip cutscenes.

That said, when done well and at the right times, cutscenes can add a lot to your games.

Aesthetics – Sound Design

Sound Design: Which basic sound effects the game will need (for example, footsteps can be used for a

more serious tone, etc.)

I have a great idea! Let’s make sound effects for everything:

• Different footsteps on different surfaces (like gravel, grass, water, leaves, snow)

• Make a sound when a player picks up/puts down an object

• Ker-ching noises when collecting coins

• Alarms, bells, and whistles when finding a treasure chest

• Squawking noises when the parrot flies overhead

• Lots of voice instructions

• Voices in dialogues

• Repetitive background music on loop

CHAPTER 1 ■ INTRODUCTION

Repetitive multiple sound effects playing at the same time can be annoying. When used correctly,

however, sound effects can add a lot to the game and provide audio feedback based on what is happening

on screen. When computers first had the ability to make good quality sound effects, it was pretty cool. (I’m

thinking back to Tomb Raider and Alone in the Dark). These days, not so much.

Overusing sound effects is an easy way to alienate your players. Try to use sound effects sparingly and

for emphasis. For example, footsteps on grass could be quiet, or some water sounds would be OK.

Provide an options screen where the player can select/deselect/change the volume of various in-game

audio effects. They will thank you for that.

When used well, in-game audio can provide an immersive experience for the player. The quality of

your sounds and voices is also important. There are plenty of sites out there where you can hire professional

voice-over (VO) artists at reasonable prices. If you decide to go the voice route yourself, invest in a quality

microphone and DAW (digital audio workstation) software; you can get set up for less than $200 (£150).

Aesthetics – Projection

Projection: The angle from which the player sees the game world (first person, top down, third person, etc.)

Different game genres have different view styles: platform games are usually side-on views. RPGs can

be top-down (4/4), isometric, various forms of 2.5D (also known as fake 3D, semi-top, or 3/4 perspective), or

full 3D.

Generally speaking,

• Isometric games look pretty cool, but can be a pain to program.

• Top-down looks OK and is quite easy to program.

• Semi-top looks good, is easy to program, and allows you to provide more info than

top-down.

As you can see from Figure1-1, in the top-down view you can see the roof of a building, but you are

unable to tell what type of building it is. The semi-top view shows part of the roof and the front of the

building; this immediately allows the player to know what the building is. Hey, you could even hang a sign

with the word “SHOP” on it. Portraying this information in top-down is trickier.

Isometric views can not only provide the information on the type of building, but also give a feeling of

depth and, if done well, look pretty cool.

For the purpose of this book, the project will be using semi-top, for the following reasons:

• A lot of artwork in this style is available, both free and paid.

• Creating your own graphics in this style requires only a gentle learning curve.

• Movement and object interaction is fairly simple (when compared with isometric).

• The math level required for interactions and calculations is reasonably low.

• Low CPU overhead; hey, GameMaker Studio is great for 2D games.

• The player can easily understand what they see on-screen.

• No transparency effects needed (e.g. walking behind a building in isometric view).

Obviously there are also negatives in 3/4 view compared with isometric view, but 3/4 view is a great

place to start.

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