Check it out on the new Kerkerkruip blog.
Posts tagged ‘monster cards’
A new monster card for Kerkerkruip, the Wisps of Pain. These have varying degrees of influence from cells, viruses, microscopic images of pollen, Jack Kirby’s energy fields. The font is Perpetua, a 20th century face by Eric Gill. The background is a microscopic image of algae, courtesy of Flickr user Learn 2 Teach, Teach 2 Learn (CC BY-NC 2.0).
I needed to create a deviantArt account recently, so I decided to put these Kerkerkruip images up there as well.
A new entry for Kerkerkruip‘s Rogues Gallery: the Minotaur.
The minotaur marks a shift in the framing of subjects that I will likely follow for many of the remaining entries in the series. While all of the previous rogues gallery cards show full portraits of their subjects, for the minotaur I decided that I wanted to be able to show more detail, particularly in the treatment of the fur and small details like the reflections on the earrings or the knot in the wood of the axe handle. It was a bit difficult to fit the elements I wanted to show–head, fur, muscles, axe–into the frame, and I toyed with a number of different compositions before I found one that worked. I’m happy with the way that the figure pushes at the edges of the composition.
Kerkerkruip‘s minotaur isn’t trapped in its labyrinth, like the Knossos creature was; instead, his labyrinth exists in some alternate dimension, and he brings his enemies there to disorient and terrify them. It is thus worth noting that, unlike many images of minotaurs you will find on the web, this one does not wear a ring in its nostrils like a common bovine. Instead, he wears the rings in its ears, as you might expect a free creature with its own labyrinth to do.
The font used is Cochin, a typeface created in the 1910s that I’ve always found interesting for its curious combination of sharp angles, solidity, and graceful curves. The fur in the illustration is drawn mostly from the italic, while the body is mostly from the roman. For fun, I’ve included below another typographic illustration that uses Cochin.
I was able to steal a few hours here and there this week to work on another illustration for Kerkerkruip, the mindslug. This giant slug wins not only for its bulk, but also for its psychic/psionic/telepathic abilities. Most notably, it can exert its titanic will over other sentient creatures, turning them into pliant mind-slaves. When we meet it in the game, the mindslug is defended by two such zombis, in the persons of a pair of famous heroes of the sword & sorcery genre.
That’s fun, but I did struggle for a while to figure out how best to portray a psychedelic slug. My initial idea was to borrow the iconic trait of the mind flayer and show the slug rearing up to reveal a ring of squid-like tentacles around its mouth. Cute, I guess, but physiologically nonsensical–the connection between the tentacles and psychic powers is nil, and anyway a slug’s mouth is on the underside of its head where the tentacles would be utterly superfluous.
Later, I thought of the baroque defensive plumes and wild color found on many of the nudibranches (often referred to as sea-slugs). I was especially drawn to the flaming neons of this specimen:
Just a quick progress update, in the form of a couple more “monster” cards for Kerkerkruip.
The swarm of daggers is on a background of textured, cream-colored paper. The daggers are collaged using Galliard, a typeface that was quite popular as a text face in the 1980s and 1990s, but harkens back to Dutch designs of the 1500s. (The name refers to a vigorous, leaping dance of the 16th century.) Galliard has lots of daggery-looking glyphs, with sharp angles and calligraphic strokes, so it seemed appropriate.
The Ravenous Armadillo, which happens to also have the clubbed tail of an ankylosaurus, is pictured on greenish canvas. (A giant armadillo with a clubbed tail is certainly more frightening than the standard hillbilly speedbump we’re used to here in the US.) The armadillo is rendered in another font with Dutch origins, Proforma. The markings on an armadillo’s armor are interesting and I didn’t want to lose them in collaging the beast into type, so I’ve experimented with color-gradated textural glyphs in addition to the main outlines.
One of Kerkerkruip’s saddest missed opportunities is not allowing for the Ravenous to roll up into a ball as the three-banded armadillo can do:
On the other hand, we’d get the same effect from a Giant Pillbug; wouldn’t that be a great addition to the game? 😉 If you’re not sure what a pillbug is, you may call this real-life arthropod a roly-poly, a potato-bug, or a pill woodlouse–but it’s known to entomologists as Armadillidium vulgare. (Click through for pictures.)
OK, swerving to a new topic: I am considering setting one of the characters from Kerkerkruip in a non-Western face. Perhaps Malygris in Arabic? Suggestions of typefaces and characters to match them with are welcome!
Here are mockups of two other Kerkerkruip characters. The overall arrangement is a minor variation on the mockups in the previous post. I have moved the character name–which is always set in the same font used to render the character itself–to the right column; this provides more space for the illustration. These mockups also incorporate the character’s written description, which I’ve just pulled straight from the game.
First up, the chain golem. I’m not completely happy with how the illustration itself turned out–I need to figure something else out for the hair especially–but I do like the many different ways that chains and their entanglements are portrayed, from straightforward to pretty abstract.
And second, Miranda with her (Shaolin) monk’s robe and nunchucks. I picture her as kind of a girlish Grace Jones, which I think comes through fairly well in the illustration. (The pose, of course, is classic Bruce Lee.) I decided not to try to make her look like a typical cartoon woman–think exaggerated secondary sexual characteristics–which may actually not have been the wisest choice. Finally, I’m not sure that the topknot adds anything, but I’ve had some feedback that it does, so there it is.
Update: Here’s a second version of Miranda, with some tweaks to make her a bit slighter. She does look more “feminine” now, but I hope still a bit androgynous.
I have begun my first Glimmr project (aside from the extensions themselves, of course): I am working on an animated title sequence for Kerkerkruip, Victor Gijsbers’s excellent interactive fiction roguelike. Kerkerkruip has recently moved into a new, open phase of development, with the source code on github and design input being actively solicited, so this is a good time for other folks to get involved as well!
Since this blog has been silent for a time’s-stitch of months, it is probably worth contextualizing a bit. Kerkerkruip is written in Inform 7, a system for writing text adventures. I have written a suite of extensions for the system that allows users to realize something close to the full potential of Inform 7’s otherwise barely-there support for graphics. Those extensions are collectively known as Glimmr. You can explore Glimmr in more detail through other posts on this blog; in particular, there are a number of posts on its animation capabilities.
So, the plan for the title sequence is pretty simple: First, we show the Kerkerkruip cover art. Then, because Kerkerkruip is primarily a game of tactical combat vs. interesting enemies–including a golem made of chains, a bouncing exploding ball of flesh, and a telepathic slug–we present a rogue’s gallery of the characters that the player has engaged with.
I have chosen to “draw” these character portraits using a kind of typographic collage, using only letterforms to render lines, volumes, patterns, etc. I’m posting drafts of them to Pinterest as they’re completed. There are a couple of more finished examples later in the post; I am also linking to a few of my touchstones for the style used. (You might think of the form as a lower-resolution version of the examples of “typewriter art” that have hit the web lately.) This approach seems an appropriate nod to both interactive fiction and to roguelikes, the former because of its emphasis on text–of course–and the latter for their association with individual ASCII symbols to represent game entities. At the same time, this sort of typographic collage doesn’t fall afoul of the “retro” sandtrap (as straight-up ASCII art likely would). Finally–and critically!–the technique shifts the execution from a problem of draftsmanship to one of design. That’s a place I feel a lot more comfortable.
The sequence is still in the planning stage. Here is the current breakdown:
- Fade in on the Kerkerkruip cover art and let it hover a moment.
- Cross-fade to a typographically collaged version of the cover art’s cell bars, then zoom forward, through the bars, to show the game’s main menu options.
- At any time after we arrive at the main menu, the player may make a selection from the menu to continue. The main menu itself may have some very minor (read: eye candy) movement.
- Once the main menu is in view, the rogue’s gallery will begin animating alongside, flipping at a leisurely pace through the enemies that the player has faced one by one. A few statistics summarizing the player’s encounters with each enemy will be displayed next to it.
- The gallery loops until the player makes a menu selection, at which point the menu fades out and the screen selected appears.
Here are a couple of mockups of entries from the rogue’s gallery, featuring the giant tentacle and the reaper, a serial killer who dresses up like Death:
The visual metaphor is of a stack of placards, which we’re shown one at a time; they are intended to vaguely resemble character cards in a game like Yomi or Magic: The Gathering. The statistics to be shown are not final; we’ll need to see what’s feasible/desirable to keep track of. If there aren’t enough different statistics, information about the character itself could be used.
Thoughts/comments on the plan or the mockups are welcome!