We’ve been using an html5 game engine called Phaser for over a year. It’s open source and was created by a photon storm.Our experiences with Phaser have been fantastic. We’ve tried several frameworks but found Phaser the best game engine to develop our games from the usability and performance points of view.Now Richard Davey, the man behind Phaser, has started a campaign to collect money to be able to dedicate more time enhancing his incredible framework.Please check this out:
We are proud to announce that a social version of Foot Chinko has been released this week on Vk, the Russian equivalent of Facebook.
It’s our first game with social features and we’ve developed it for a cool Russian company called ComonGames.
We’ve gathered valuable experiences with the server side of the game. Social Foot Chinko represents a technical quantum leap for us, considering that not very long ago, we were wasting our time with hopeless dress up games…
In this article we’ll cover the producing of game soundtracks and how to guide composers so their tracks fit your game and communicate important aspects.
At this early stage you should focus on general aspects like music genre (something that fits your theme), tempo (that matches with the game pace), and duration of the track (in this case we are working on an HTML5 game, so we had to keep the main track below a minute in order to keep short preloading times).
Here’s what Daniel came up with as one of the firsts drafts. One of the other two was eventually used as a secondary track for Bonus Rounds. The other draft had a too dark, ominous spirit, so it didn’t match the game tone.
One of the cool things we found here was the ambient landscape using nature sounds. This is something to always keep in consideration. These kind of ambience sounds will reinforce the projection of the world in your game.
Although the composition was a cool draft, it needed a second iteration with a more casual and lighter ambience.
By the use of piccolo (tiny flute) in addition to indian flute, we not only gave the composition a happier feeeling, but also joined the two colliding cultures of the game: the american indians and the european settlers. Besides that, the low rank frequency of the indian drums that created a constant noise was also reduced.
So we definitely had the indian atmosphere, but still there was a music layer missing. The art, the ambience, the game itself, is a pop revision of the story of Pocahontas, so the music should also remind the casual approach to the theme by using a videogamey accompanying melody. An artificial sound opposing the organic instruments performing in the tune that also gave an even happier feeling.
And finally this is the final version of Pocahontas Slots soundtrack. A positive track that resounds like both indian and the settlers musical compositions (broad commonplaces), with a dynamic tempo, a semi-hypnotic pace, and a videogame touch which reminds that there’s no intention to deliver a pretentious or historically accurate composition.
I hope you enjoy Daniel Ara‘s work and appreciate the process which leads to a soundtrack that matches your game needs.
We are very glad to announce that we are collaborating with BoomBang, a great virtual world for the youngsters. Currently, we are developing a frantic new game for them.
BoomBang is a virtual world with over seven years of history, so it’s kind of a veteran on its industry. During this time, kids around the world have made lots of friends and enjoyed all the events that BoomBang’s staff has held. Kids can chat around, pimp up their islands, fill with crazy furniture their houses, play games with exclusive rewards, and take part in thematical events where you can exchange hearts, snowballs, or easter eggs for secret tokens in hidden and bizarre places. All in all, it’s a very cool and entertaining place for kids, as you can see.
For us it’s a great chance to develop for them. Just give us some weeks and you’ll be able to play the wonderful game we are working on right now. We’ll keep you informed!