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Originally posted on my Patreon

I want to tackle some game-feel issues with jumping that I often see in beginner GameMaker platformers. If you are a student learning about game development, or a hobbyist learning GameMaker to prepare for your first game jam, this article is for you!  

When I noticed that I was giving the same feedback to student games over and over, I dug into the tutorials they used. Many GameMaker students referenced Shaun Spalding’s excellent platformer tutorials for their first game. I like these tutorials because they are simple and straightforward in a way that won’t overwhelm a beginner, even one with no coding experience. 

The original tutorial for Gamemaker Studio

And an updated one for Gamemaker Studio 2

The trade-off for this simple approach, however, are a couple of game-feel issues that pop up as a result of the jump code. I’m going to focus on two small ways that beginners can modify the tutorial to make their jumping feel better:  Ledge Assistance and Jump Input Buffering 

These are common platformer implementation techniques, so the good news is that a lot of excellent stuff has already been written in depth about these concepts. But if you’re a beginner just building your very first platformer, this sort of stuff probably isn’t on the forefront of your mind. It’s already a big task to create all the pieces of a platformer from scratch, down to just getting your character moving at a basic level, so something like “jump input buffering” isn’t going to be a thing a beginner considers researching.

My hope is to connect these concepts to the base tutorial to help ease students into thinking about this sort of stuff with their games. Let us begin!

1. Ledge Assistance

Also known as ledge forgiveness, grace period jumping, coyote time, or a number of other terms, this is a fix for the following issue you may run into when setting up your jump code: You try and jump off a ledge at the last possible moment in order to clear a really big gap, but your jump input doesn’t register and you fall off the ledge instead.

The fix for this is allowing a few frames where the player can be not-on-the-ground but will still register a jump input – a grace period for jumping off of a ledge.

For an in-depth and  illustrated look at this concept, I highly recommend Kyle Pulver’s article on this topic.

Since this concept is so closely tied to input and feel, it can be difficult to fully understand by visualizations alone. So I made a simple demo to help people understand how the grace period changes the feel of jumping.

Try the Ledge Assistance Demo (keyboard required)

This is a very simple platformer setup based on the code in Spalding’s tutorials, but one where you can adjust the number of frames in the ledge assistance grace period.

The default is the grace frames set to 0, which is what it feels like in the default tutorial version. As you may be able to feel as you try to make the long jump from one ledge to the other, you can get into a situation where you try and jump at the last possible minute, but fall lifelessly to your death instead.

This feels terrible because there’s a disconnect between your input and what you expected to happen as a result. Kyle’s article goes more in depth into why this happens and provides an alternative implementation to avoid the issue, which is what I used to make the grace period.

By adjusting the grace frames (by clicking the up and down arrows), you are controlling the number of frames the player can simultaneously be “in the air” and press the jump button and still have that jump register. This is the “grace timer” that Kyle mentions in his article. Play around with this number and feel the difference it makes in the jump. Check the “show feedback” button to get a visual cue to illustrate when the grace period is active.

But Lisa, what is the right number of frames to use for a grace period?

Well, this depends entirely on your game and what player feeling you’re going for. If you are making a very tight, precise action platformer, then you’ll probably want to make the frame window as small as possible while still compensating for human reaction time (if you want to get all mathy, consider your target frames per second, and the fact that average human reaction time is somewhere in the realm of ~215ms, or you can just do it by feel. I recommend starting with 6 frames and adjusting from there).

However, let’s say you’re making a game about the laziest bat who “jumps” by flapping her wings a single time, in which case it may make sense to have a super floaty jump and really long grace period, so the bat could amble off the edge and start visibly falling before “jumping.” I dunno, I just made that up off the top of my head.

My point is that there’s no universal right answer here, you’re going to have to tune it with the feel you’re going for in your game, in which you have to consider many things: level of challenge, experience of audience, reaction time factors for your audience, input device, the fantasy of your movement, etc.

You will find the script example at the end of this article.

2. Jump Input Buffering

Another issue I see in a lot of student platformers is no input buffering on jumping, which is something that can feel bad if you’re making a game that requires a lot of repeated, precise jumping. Once again, Kyle Pulver has written about this and illustrated it at length, and I recommend reading his article

The solution to this issue is in a way the opposite of the ledge assistance issue: you still want a grace period in which a jump input will register as true, but in this case you want it *after* you hit the jump button instead of before.

Try the Jump Input Buffering Demo (keyboard required)

Similar to the other demo, when the jump input buffer frames is set to 0, this is what you get with the base tutorial version. If you happen to hit the jump button just slightly *before* the character collides with the ground, it will not register, and so the character will sit there on the ground and you will feel grumpy about it. This happens more often when you are trying to do a series of jumps one after the other, jumping as soon as the character hits the ground.

Increasing the buffer frames is basically saying “if the player hits the ground within this number of frames after I press the jump button, just execute the jump as soon as they touch the ground”

Again, there’s no universal answer for how big of a buffer to use. Play around with different frame amounts and try to feel the difference it makes in the jumping. You’re trying to find a balance between compensating for player reaction time and still having the movement look and feel grounded and believable.

And think about what player feeling you are fulfilling with your game. Would it ever make sense to have a really really high input buffer? What would that game look like?? What would the fantasy be for that input to make sense and feel good? Maybe you should try and make that game!

Read on for a script sample.

The Point

When it comes to the wide world of game feel, these are but two small tweaks, and one can really dig in and get really deep into shaping player input to feel amazing. There are many others to explore: tuning variable jump height, nudge assistance, the idea of programming jumping in terms of max time to peak as a number to tune around, and so on.

But when you are just getting started with your first platformer and are feeling like you have a handling on the basics, I think these are good places to introduce yourself to tuning player input. It’s easy to get overwhelmed, especially if you aren’t an experienced coder, when you take on too much right off the bat.

And you can see when looking at the script itself below, even these two tweaks get quite a bit more complicated than the original tutorial script for player movement.

But I think it’s a good place to start, and a great way to add a little extra polish to your first platformer, be it for a class project or a game jam or just for fun.

Script Samples

If you are following Spalding’s GameMaker tutorial, you should be able to copy and paste these scripts into the player object’s Create event and Step events, respectively. Set grace_jump_time and jump_buffer to whatever number felt good to you when playing with the two demos. I tried to comment thoroughly. Or you can just look at the whole GameMaker project attached below. Good luck!

Modified Player Create Event

Modified Player Step Event

All the Links in One Place

We know you’re busy and might miss out on all the exciting things we’re talking about on Xbox Wire every week. If you’ve got a few minutes, we can help remedy that. We’ve pared down the past week’s news into one easy-to-digest article for all things Xbox! Or, if you’d rather watch than read, you can feast your eyes on our weekly video show above. Be sure to come back every Friday to find out what’s happening This Week on Xbox!

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Play Star Wars Battlefront II Open Beta During Free Play Days For All Weekend
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Not long ago Kid Tripp arrived on the 3DS eShop, an auto-running platformer that offers snappy but challenging stages. Some balked at its mobile origins but that was to do it a discredit; in our view it’s a well-constructed and fun game.

Four Horses produced that version and is now working on a Switch port, so we caught up with director and programmer Michael Waites to learn more about the process of jumping a generation in hardware, and why this was always a ‘console’ game despite its smart device origins.

How has the development process been on Switch?

So far, it is all going well. I’ve taken a little break from it to help out another publisher with a conversion of a Unity project but I expect to be back onto it shortly.  Some of the work on the other project crosses over with Kid Tripp anyway, such as handling all the controller configurations that are possible and other aspects, which have inspired ideas to make Kid Tripp even greater on the Switch, so it is all good!
 
When did it start?

I started the conversion to Switch in the week of the launch of the 3DS version. Getting the game running with identical content to the Nintendo 3DS version was fairly rapid as all it involved was getting my in-house engine up and running on the Switch.  All that remains is to get the Switch-specific functionality added.

What attracted you to develop for Switch? 

I’m a huge fan of Nintendo, both the games they make and the hardware they release, so as soon as I heard about the Switch I wanted to own one for game playing. I love the design of the console and wanted to get set up as a developer as soon as possible as I have a few ideas for games that make some use of the unique hardware. Getting Kid Tripp onto the platform seemed to be a good springboard to getting hold of the development hardware, getting familiar with it and then going on to develop the ideas I have into full games.

What was your exposure and interest to the rumours of the ‘NX’? 

Sadly no different to any other Nintendo fan. As a developer, I had no early access to the hardware or any information about it.  It wasn’t until what seemed like an age after the launch of the hardware in March that I got access to the Switch developer site. In some ways, I’m happy with that because I did enjoy all the hype as a consumer.

It must be exciting to launch on Nintendo platforms that have huge popularity at the moment, one well established and the other in its infancy? 

It really is. I never thought I’d be self-publishing a game on Nintendo hardware within a year of its launch, but that is going to happen.  Plus, the 3DS has had a special place in my heart since its launch. Hopefully I’ll be able to develop and publish on its eventual successor, too!

The game is certainly charming visually, yet has elements and a degree of difficulty associated with classic platformers. How was this aesthetic/ gameplay balance approached (to appeal to different ages and skill types)?

I wasn’t involved in the design of the original game, so I don’t have too much information on that front. I do know that Mike Burns, the original creator, spent many hours with friends and family balancing and tweaking the levels based on their feedback. I’ll hand over to him!

Mike Burns: I started making Kid Tripp as a hobby way back in 2011. At the time there wasn’t a huge catalog of challenging, quality platformers on the iOS App Store, so I figured I’d jump in and help fill the void. I’m a big fan of New Adventure Island (the TG-16 one — I actually discovered it on the Wii Virtual Console!). It’s fast, colorful, and fairly tough. One of the cool ways that the Adventure Island games differ from the Mario games is that they kind of subtly encourage the player to never stop running. The more I played it, the more I realized I could beat pretty much the entire game without ever letting go of the right arrow on the d-pad. I think that’s what sparked the idea to bring that kind of classic platformer gameplay to mobile devices (via an autorunner.).

The decision to go with the game’s cute pixel art style was definitely influenced by games like Adventure Island and Super Mario Bros. (Bright, colorful pixel art just makes me happy!) The difficulty was a bit of a different story. The plan was always to make a tough game, but the funny thing is that I didn’t think the game was particularly hard when I first finished it up. I had spent about two or three years testing it almost daily, so by the time I got around to creating the final level design the physics were totally second nature to me. The thing is, because I designed the levels to feel challenging for me, personally, they ended up being super difficult for people who had never played the game before.

That said, I did offset the difficulty with some other design choices, so I think it worked out pretty well in the end. For instance, the player respawns practically instantly, and the levels are short enough that dying doesn’t feel like a huge loss of progress. The satisfaction of beating a super tough level is always just a few seconds away (which works great for holding a player’s interest), but it’s also really easy to just put down and jump back in later. I knew that that was a really important thing to have, especially for a game people would be playing on their phones.

With the ‘endless runner’ genre being linked predominantly with iOS, was this technically expanded and tweaked for consoles? 

Michael Waites: The original game was developed as a console game that could be played easily on a touch screen with two fake buttons, so to a degree it already was a console game. Having said that, the game is considerably more difficult to play in two button mode as there are three controls – running, throwing stones and of course, jumping.  We made the decision to split those controls fully for the console versions but retain a Hardcore control option that just uses two buttons the same as the iOS version. I don’t know if anyone really wants to use those “authentic” controls, but I didn’t want to make any irreversible changes to the original game.

How was the transition from one to two screens – from iOS to the 3DS, and now being able to transfer between home and portable with the Switch?

In some ways it was really difficult, mainly because we decided to just use the top screen – it is that decision which was difficult.  We had some ideas for things we could put on the touch screen such as a permanent display of your current statistics and a little mini-map of the level with markers for all the places where you lost a life, but in the end we figured that it was additional work that would only delay the release without adding any value for the player. If you take your eyes off the top screen whilst playing, you tend to lose a life!

So, with that in mind, how did you decide on unique features for each system? 

Since the game was already designed we were never going to be making any changes that would affect the content of the game, so unique features were never factored into the game. I was always going to be making use of the 3D effect of the 3DS, though. I personally don’t like getting multi-platform games on the 3DS that don’t utilise the 3D effect when they could do. For the Switch, the only thing I can confirm right now is that we are supporting all controller configurations – attached to the console, dual Joy-Con, single Joy-Con (left or right) and Pro Controller. We are experimenting with another feature based on the controller, but until we know if that is going to add value to the project are keeping it to ourselves!

We’d like to thanks Michael Waites and Mike Burns for their time.

SANTA MONICA and IRVINE, Calif. – August 10, 2017 – The Overwatch League™ today announced its latest team sales, with esports organization founder Jack Etienne of Cloud9 purchasing the team for London, and sports industry leaders Stan and Josh Kroenke purchasing a team for Los Angeles.

The Overwatch League is the first major global professional esports league with city-based teams, and will showcase world-class competitive play in Blizzard Entertainment’s hit game Overwatch®. Last month the League announced its first team sales to seven leading entrepreneurs and organizations from traditional sports, esports, and the technology sector, representing major global cities from Boston to Shanghai. With today’s announcement, the League now includes teams from Asia, Europe, and North America, including two teams for Los Angeles.

“The Overwatch League continues to have great momentum,” said Activision Blizzard CEO Bobby Kotick. “We’re thrilled to add Jack Etienne of Cloud9 and Stan and Josh Kroenke of the Los Angeles Rams, Arsenal Football Club, Denver Nuggets and Colorado Avalanche to our group of extraordinary Overwatch League owners around the world. They will enhance our ability to celebrate and reward players and fans in Los Angeles, London, and beyond.”

“Overwatch is a global game, with heroes – and players – from around the world, so it’s important to us that as many Overwatch League fans as possible have local or regional teams to root for,” said Mike Morhaime, CEO and cofounder of Blizzard Entertainment. “In addition to broadening the competitive field for Season 1, we’re excited that today’s announcement helps set the stage for more epic intercontinental rivalries.”

“Building communities around the best competitive experiences in the world is incredibly rewarding, and the Overwatch League offers the chance to create something special,” said Josh Kroenke, cofounder of KSE Esports. “We’re impressed by the vision and strategy for the League, and we’re going to build a great team for Los Angeles that inspires fans near and far.”

 “We applaud the creation of the Overwatch League, and couldn’t be happier partnering with an organization that shares our values and vision of serving athletes, teams, and fans,” said Jack Etienne, founder and CEO of Cloud9. “We are thrilled that Cloud9’s formidable fan base throughout Europe and the UK now has a local team to call their own, and can’t wait to start representing London in the Overwatch League.”

The Overwatch League is slated to begin later this year, with an official player signing window for Season 1 now open from August 1 to October 30, 2017. Details on player signings, salaries and benefits have been announced, with players earning a minimum of $50,000 each year, and at least 50 percent of team performance bonuses from winning playoffs and other league events going directly to players. Teams will provide players with health insurance and a retirement savings plan, as well as player housing and practice facilities during the season which will meet professional standards set by the Overwatch League.

More information about the League’s format and timeline, as well as new team announcements, will be shared over the coming months.

About Overwatch League™

The Overwatch League™ is the first major global professional esports league with city-based teams in Boston, London, Los Angeles, Miami-Orlando, New York, San Francisco, Seoul, and Shanghai. Overwatch® was created by globally acclaimed publisher Blizzard Entertainment (a division of Activision Blizzard – Nasdaq: ATVI), whose iconic franchises have helped lay the foundations and push the boundaries of professional esports over the last 15 years. Among Blizzard’s stable of twenty-one #1 games,^* Overwatch is the fastest to reach more than 30 million players. Overwatch was built from the ground up for online competition, with memorable characters and fast-paced action designed for the most engaging gameplay and spectator experiences. To learn more about the Overwatch League, visit www.overwatchleague.com.

*Sales and/or downloads, based on internal company records and reports from key distribution partners.

This week at Bungie, we know the score.

The banners that fly in the Tower tell a truth that we have all known for some time: Dead Orbit is the faction that rules the hearts of the most Guardians. Do they all think they look better in black? Or are they just a generally moody bunch? We may never know the true motivations that sent them into the wild to express their loyalty through action.

What we know for certain is that Arach Jalaal is the champion of this first Faction Rally. His victory was not undisputed. Each faction put some respectable points on the board. Once the 61 Million reward packages were counted, Dead Orbit emerged the most profitable faction by a margin of more than 2 Million. New Monarchy was a close second. Future War Cult was an even closer third.

As promised, Dead Orbit has a prize on offer. If you pledged to them, it will be a steal. If you did not, but you still gotta have it, they’re about to steal from you. That will be the price of your treachery.

Faction Rally will return. New Monarchy and Future War Cult, we’ll let you know when you’ll have your chance for revenge! Next week, however, we’re clearing space in the Tower for another special guest.

The Return of the Iron Lord

The Red War scattered the heroes of humanity across the solar system. One by one, they have been returning to the City. Now, Lord Saladin will hold court and reward the brave.

Begins:  October 10, 2AM Pacific

Ends:  October 17, 2AM Pacific

The game is Control.

As the first Faction Rally comes to an end, the Iron Lords are hosting the next ritual. Their special event has undergone some changes. The Iron Banner is still your chance to stand and be proven in the fires of friendly competition.

What’s different?

How can you compete?

What’s in it for you?

Decorate yourself as a master of your competitive spirit. Form up into a Fireteam or let the fates choose your teammates.

You’re the Best… Around!

Combat against other Guardians not your thing? The ultimate PVE challenge also arrives in your Director on Tuesday at 10AM Pacific. The morning after the weekly reset begins a new invitation from Calus to join him for the Prestige Raid.

We do not expect everyone to be successful in completing this activity. Mechanical changes to the encounters are minimal, but they are there. The Prestige Raid is about mastering a more punishing sandbox. Our goal is not to provide a boon to your character progression, but there are unique rewards to help you shine. Consider this your invitation to prove to the world that you are among the very best of the Raiders who overlook the City.

World First will be counted. We can tell you no more.

Good luck!

Their Stage – Our Story

*There is that word again: Season.

There is a mention of seasons when you inspect your Clan. Now, we’re talking about it on the blog. What does it all mean?

We’ll be answering that question, and more like it, at TwitchCon.

Friday, October 20, 4:30PM Pacific

What do Seasons mean in Destiny 2?

What will change from season to season?

How many seasons can we expect?

When does Season Two begin?

Servants to the Guardians

This is their report.

Destiny Hotfix 1.0.3.1

On Tuesday, maintenance was conducted to support the deployment of Hotfix 1.0.3.1 to Destiny 2. Upon conclusion, there was a minor issue where some players were prompted to create new characters in an alternate service environment. No characters or items were deleted due to this issue. For resolution, closing Destiny 2 and relaunching the application would return characters to their proper state.

Event Vendors: Availability Issue

On September 26, Faction Rally vendors were not available in some Tower instances immediately upon the weekly reset. We are investigating the cause of this issue, as well as potential ways to address it. Similarly, Lord Saladin is expected to be impacted when Iron Banner becomes available on October 10. If you are unable to locate Saladin within your Tower after the weekly reset, we advise returning to orbit and launching into a new Tower instance.

Destiny 2 Error Code Investigations

At this time, we continue to investigate reports of CABBAGE errors that are blocking some players from progressing through the Destiny 2 campaign or returning players to orbit from alternate activities.

Some players have been able to reduce the frequency of these errors by following recently updated troubleshooting steps listed in the help article linked above. Some steps listed may need to be taken by an internet service provider to adjust security restrictions on network hardware. We will provide updates on this investigation when available.

Additionally, we are investigating elevated levels Newt, Beaver, Guitar, and Permissions errors impacting Destiny 2 gameplay. If you encounter these issues during gameplay, please post a report to the #Help forum detailing the following:

• Were you in a Fireteam when this error occurred?
• What was the activity that you were engaged in when experiencing this error?
• Have you followed steps within the Network Troubleshooting guide to ensure proper network configuration for Destiny 2 gameplay?

As we continue to investigate the rise in these error codes, we advise all players follow @BungieHelp on Twitter or visit Help.bungie.net for updates concerning server status, known outages, and active issue investigations.

You Oughta Be In Pictures

Movie of the Week: If you’re happy and you know it.

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Honorable Mention: Aesthetic: Destiny 2 – A New Frontier

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Honorable Mention: Destiny 2 Be Brave Metal Cover

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[Editor’s Note: I listened to the whole channel as I wrote all this. Thanks, man.]

Anyone miss Cozmo yet? I miss Cozmo. I’m so lonely here, with all of you, all by myself. He’ll be back next week, with his cats and his chill way of deploying the news. I’m always happy to grab the controls of the blog, but he has taken solid ownership of this community. I have his back, and he has yours.

As we continue to ride this wave, the game will tell its own continuing story. Your Milestones will reveal the mysteries of the weekly resets. We’ll plot some more distant milestones right here. There are a few mentioned above to fuel speculation. Destiny is a turbulent landscape that’s always changing, so our focus tends to be weekly. There is still a lot to talk about, and the game will serve up new challenges every time you visit that world. In the weeks to come, another wave of Guardians will join our community on the PC. We have more stories to tell and more destinations to explore before the end of this year.

On a personal note; just the other night, after we caught up in the Crucible, I had dinner with a dude I met as my teammate in a Bungie game eleven years ago. I am a product of the Bungie community. My challenge to every Guardian is to look to the human element in Destiny 2 to fuel your appetite for ultimate re-playability. The ultimate loot is the friendships that can grow out of a game like this. There will be more gear to add to your character (next week, even). The rewards that I’m talking about are the people in the community that thrives in this game. If you let them, they’ll make your hobby as a light-dealing hero on a starside campaign for glory even better.

Thanks to those of you who are helping us to drive that scene.

DeeJ, out.