Wilmot’s Warehouse dev explains how he began building a game with no any understanding of programming


I believe we can all agree that a laptop is a needed tool for a game dev seeking to bring their thought to life. What do you do if you have no thought how to code for a game? Wilmot’s Warehouse designer and artist Richard Hogg is the great individual to clarify, as he had totally zero thought how to plan a game. Verify out a snippet from his style function beneath to see how he got began on the path of generating his dream game.

I am a game designer but my sensible talent set is incredibly tiny. I can draw. That is about it. I can not code, I can not make 3D art assets and I do not actually have an understanding of tools like Unity or Unreal. I make up for these inadequacies by operating with other men and women who can do these items. Most notably my indefatigable colleague of more than 10 years Ricky Haggett.

However, a handful of years ago Ricky went off and produced a game that I wasn’t involved with. It is known as Loot Rascals and is incredibly great. This left me in a bit of a pickle. Mainly for the duration of that spell I did illustration function for revenue but I also felt the want to style a game. So I began designing a single, just by drawing it. This is the starting of the course of action that at some point became Wilmot’s Warehouse.

I didn’t have any powerful vision for what sort of a game it could possibly be. In truth I deliberately avoided that sort of considering and as an alternative focused on a extra sensible and achievable objective of just generating a bunch of visual components that would hopefully make some sort of an fascinating game.

I proceeded to draw hundreds of square tiles representing unique items. When undertaking this I began playing with suggestions about how these items could be equivalent and unique to each and every other. Thematically, visually, colour-smart and so on. A mini ecosystem of interconnected visual components started to evolve. Some in clear groups, linked by colour or some sort of apparent motif, some in thematic categories of varying obviousness, and some oblique, esoteric connections that possibly only make sense to me. Most items are in extra than a single category and some items are deliberately in no category at all. Inconsistencies and contradictions had been embraced and nurtured.

Hopefully you can see how, with no writing a line of code or going anyplace close to a game engine I had a set of strong tools for shaping and tuning a game. I could believe about and adjust the difficulty and the ‘gamefeel’ by editing this increasing set of photos. This is at a point exactly where I nevertheless didn’t even know what the game was going to be like!


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