Special Stage Systems MING MECCA, User Manual

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94
DESIGN SYSTEMS, NOT GRAPHICS
It’s easy to think of each asset you create as a self-contained
statement, but once your
MAPs
,
SPRITEs
, and
TILEs
are loaded into the
WORLD CORE,
they’ll begin to interact with each other in complex
real-time systems. What do your
SPRITEs
communicate about how
they should be used? A door
SPRITE
implies very different procedural
possibilities than an owl
SPRITE
, for example; one is probably station-
ary, serving as a link between geographic zones, while the other is
probably in motion, driven by
LFOs
or
ENVELOPEs
as it dances across
the world.
How do your different
SPRITE
designs work together? Perhaps there
should be a mouse to escape the owl, or a key to open the door.
Your
TILE
designs are equally important. Why not create a grass field
for the mouse to hide in, or a brick wall for the door to sit against?
Even completely abstract designs can form evocative geometric or
visual relationships, such as “Tetris” style blocks that interlock, or de-
tailed stripe patterns that alias.
Once you’ve thought about the interaction between your
SPRITEs
and
TILEs
, how do your
MAPs
support them?
MAPs
in particular have
a huge impact on the procedural structure of the world. Try to think
of how your large-scale
MAP
elements translate to
COLLISION
events,
and compose them accordingly.
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