Hi,
Here you can see some screenshots of our work with our comments to help you guys understand a bit better about what we’ve been working on during this hiatus. I know we promised this awhile ago, but it turned out to be pretty hard to get all the teammates together to work on one blog post simultaneously.
The screenshots are, in most cases, very large, and the site engine will downscale them to fit your screens. To see the full size, you will need to click a thumbnail, and when the image finishes loading, click the green arrow on the bottom of the screen.
From Lewi-G:
Sep has proven to be a challenge to model. Unlike projects I have worked on in my career, Sep has a unique limitation in his design. Unlike a human face, which creates creases when you smile, Sep needed to keep his ‘LBA style’ head whilst having enough expression to look alive. Early in 3D, games were limited by computer processing power; simple shapes like spheres and cubes were used and hence Twinsen’s egg-shaped head was born.

In the end, I came up with a compromise and reshaped the head slightly so it was wider at the bottom to give the impression that Sep had cheeks. In order to create facial expressions a face needs to have a certain layout of deformation lines in its model in order for the face to change shape. Even though Sep’s head now had cheeks it was still a challenge to make new expressions without blendshape errors.
Not trying to bore you with too much technical talk, but blendshapes are a series of models which use each other as reference and morph between each other to give the impression of expressions. In the case of Sep I had to create 20 blendshapes! Each had to be modeled to a specific design to prevent eyes being sucked inwards or fat lips being created by 2 shapes adding to each other and doubling the overall head size.
You should have seen one of my early tests… Sep had the mumps!

The body rig was quite easy once the head was finished. I added a flexible spine and bones to allow an animator to push realism a bit and have some squash and stretching. This squash/stretch technique has been used in cartoons for a very long time to emote life but only recently has it been adapted for 3D. A good example of this can be found in the movie Ice Age when the Sabre toothed squirrel is pulling his acorn out of the cliff face. His arms stretch a little to tell the audience he is pulling for all his worth! Sep won’t be pulling acorns but I promise you the overall animation will look better than the original LBA animations
The only part left to finish are the eyes. I need to develop a method of using the eyelids as eyebrows. Eyebrows are an important part of human expression but unfortunately (most probably due to the computer limitations I mentioned earlier) Twinsen didn’t have eyebrows! I plan to use the eyelid itself to emote expression but I need to create a simple method of changing between these eyelid shapes for animation.
Yep. The LBA Prequels cut scenes will be much more advanced than the original LBA ones but hopefully will still stay true to the original charm/style.

From Double-J:
This image of the tavern interior really shows what we’re working on as far as atmosphere in the game. While everyone knows we’re working with the original engine, we’ve tried to think of ways that we can turn the old into new. This tavern - a central place for information in the game - highlights “the little things.” Different interior styles, revised layouts and items, and island-specific patterns and architecture are all going to help make this game have an easily identified atmosphere. You’ll know which island is which simply by the appearance of its buildings, the behavior of its people, and other subtle cues. One of the things I disliked about the original game was that I’d easily get islands confused since many of them had the same style and layouts. We don’t want players of the Prequel to have this issue. When you think of Proxima, it will jump into your mind. When you think of the other islands, it will too. There won’t be any question.
From alexfont:
In a more technical aspect, we tried to change the LBA1 Tavern to look older and give it a different mood. The picture shows some important stuff we’re working on (the grid is completely done). I don’t forsee any kind of brick layouts or structure changes for the planned demo. We still have the secret basement, a little change and with a new and different passage, which I’ll let you discover for yourselves. Some developments were made in the scripts and some navigation between different scenes are working now. Not much yet unfortunately, due to LBArchitect development and other obvious reasons, but even with this we were be able to test it and implement as we can see on the picture. Our first disappearing celling grid (cube), and its working :P. As a side note, we can also notice the game running with LbaWin, which is our main engine to use; this is even working on the original one and TwinEngine.

From Double-J:
At the same time, we did not want to stray too far from the original formula. Yes, each island should have its own personality, but they are also the same islands that Twinsen will see down the line. How much could possibly have changed from Hegesippe’s time to Twinsen’s? These were the questions we had to toss around when conceptualizing how these islands would appear in the game. One of the subtle changes you’ll notice is how close attention we’ve paid to trees and plant-life from the original game. Our theory is that if a tree was full grown in Twinsen’s time, it should be smaller or perhaps even a sapling - when Hegesippe existed. Similarly, we had to think about the differences in technology from Hegesippe’s age to Twinsen’s. We debated the merits or electrical power versus candlelight, and everything from steam to firearms. Once again, we looked to the original game for inspiration. LBA 1 + 2 had the certain blend of space-age excitement (Esmers, laser guns, cloning, etc.) while at the same time, relying on ancient myths and magic as well. I think we’ve done a good job in setting the ground rules for te Prequel in that we have made sure that technology - and its presence or absence - makes sense in each scenario.
From Luke:
I felt that Citadel Island should be a sleepy, old world village, rather like the kind that you can still find today in the south of England. Time has stood still or, at least, slowed to a crawl, perhaps rather frustrating for a young whippersnapper like Hegesippe.
The island is rather self-contained, more or less supporting itself - other islands in the Southern Hemisphere are more integrated into some sort of trading network, which of course offers plenty of opportunities for pirates - and the addition of a clock tower seemed to suggest this (as well as give the place a certain amount of chocolate box charm). I’m not sure who I intended to live in the area labeled ‘house’ in the drawing (presumably someone hard of hearing, given the proximity of the clock tower); we since decided that that would be a better location for the school.
Initially my designs for the buildings were somewhat German-Gothic. When Double-J suggested that architectural styles vary over Twinsun’s various islands and towns, I felt that the buildings of Proxima alone would be best suited to the Germanic look. The architectural style on Citadel is that of the first LBA game, so the player begins on somewhat familiar ground before venturing beyond Hegesippe’s hometown.
From alexfont:
Looking at Luke’s concept and all the idea behind I came to formulate this scene. We can find some similarities with LBA1 but still its a lot different. The scene building structure shouldn’t change, but the outside look must be change to what Luke’s explained. Its not that easy to create such thing and for now it isn’t a priority in our vast to-do list. I also like to say this was a tricky scene to build because of some limitations we have in the engine; we need to take out the player from some specific scene angles to kind of “trick” the viewpoint. The clock tower won’t be as we originally thought (with that roof, etc.), but the clock is still visible, all because the scene height is cleverly modified. Unfortunately, the clock can’t be higher :/

From Zink:
This screenshot shows what I am working on at the moment. The new version of LBArchitect will be a very important breakthrough for the project, nearly as important as LBArchitect itself was for the LBA community. Those of you who tried some scene editing using the connected LBA Story Coder and LBArchitect programs most likely noticed that it was a pain to make anything advanced with it. Not only wasn’t it very intuitive, but also many bugs prevented adjusting coordinates of the objects precisely. The sad thing was that alexfont didn’t have much time to work on his Story Coder. Thus, alexfont and I made a decision to connect both projects, and you can see first results on the screenshot. What does the connection mean?
- One program instead of two: a more stable, more intuitive, faster, and more reliable environment.
- Possibility of new features that were very difficult to implement earlier. You will see some of the new features in the upcoming version.
- We have a lot of ideas for improvements that alexfont couldn’t incorporate due to a lack of time. I hope to have more time than he does currently, so I will be able to introduce many of those improvements as early as in the next release.
So what exactly can you see in the screenshot? First, there is the object information panel in the top right corner. It shows information about the selected object and allows the user to edit its parameters. What stands out is the little “Find” button. Its purpose is easy to guess: it allows you to locate the object in the grid. No more having to look through the grid brick after brick. You will be able to find what you’re looking for with a single button click.
The second important thing, not standing out on the contrary, is the zone-adding button (next to the track and actor adding buttons). Before, if you wanted to add a zone, you had to click “New Zone” button in the Story Coder, which created a zone with initial position and dimensions, and to move it to the desired position and give it the proper dimensions you had to change the parameters and see what was happening through trial and error. Add the bugs in the editing fields to this, and setting a zone up was an almost-impossible task. I tried once, and gave up after a while of getting more and more annoyed. With that little button, it will be possible to create the zone you want with a little more effort that one click of a mouse button takes. Just click on the grid where you want to create a zone, drag the mouse to set its dimensions, and release the button. Yes, it’s as simple as that.
The last important thing that can be seen on the screenshot is the script editor. Not much new here: highlighting colours have changed; some parameters are now text constants instead of numbers; but the really important changes are not visible here (not only for the script editor), and I’m not going to tell you about them. I must keep something to make a surprise. I can assure you, that the jaws of many of you will fall to the ground when you see these things for yourselves. ;).
From Bot13 (about the window frames):
The style I wanted to achieve here was very clear to me. In the history of the LBA Universe, things were different. Now, even LBA1 had a pretty futuristic look all over, so I tried to make it the other way around. We already established it would be wise to go for a really old look, almost 18th century-ish. Myself, I’m a big fan of steam punk style, so that’s something that will be present in my future works.
The production was pretty simple; establish the material, look and feel of the object in a quick sketch, work it out in detailed form with the help of 3D software, and lastly render it in the correct shape, perspective, size, color. It’s not easy to really keep myself between the limits of the engine, resolution and color-wise it’s all very low standard. Though that’s all part of the pleasure and it sure is one hell of a project where I’m still planning to put much of my creativity, time and effort into.