So what’s been happening? The first thing we’ve been doing is continuing to iterate on Planck’s core mechanics. In particular, we’re keen on trying out a new system that makes changing the color space of the level more explicit and less of the mysterious thing it used to be. Right now in the build we’ve got special “transverse motes” that create great changes in the level’s energy when hit. This makes mixing up the palette of sounds easier and potentially much more dramatic. We’ve got more to do on these— we need to adjust the levels to work with them and do their art—but it’s a promising step towards making our suite of player actions simpler and more powerful at the same time.

We’ve also been exploring some basic prototypes for other games in a similar vein to Planck, with the idea of doing something small and simple for mobile platforms. I wasn’t lying when I said that we ambitiously bit off a little more than we could chew trying to make Planck, so our desire as a team to get something out the door together sooner rather than later led us down this particular path. The prototypes aren’t too far afield from Planck in art and sonic style, but they do show some of the other interesting ways we can combine music and gameplay using the systems we’ve already built. I think we’ll be sharing some of those prototypes with you here at some point.

Tying in with the above is a significant amount of thought that’s going into the business side of things. Some people have asked if we would be open to doing a Minecraft-style paid open Alpha. We’re definitely open to that, but I think we would need to get farther along with the game before that could happen. Right now, we’re considering a wide range of possibilities as far as platforms and release strategies go. Navigating these waters can be confusing sometimes— depending upon whom you talk to, you can get very different answers about the viability of the options out there for a game such as ours. Sorting that all out is taking longer than we want it to, but I’m of the mind that, just like in life, in business it’s best not to rush into a relationship you haven’t fully thought through.

Finally, thanks to everyone who left a comment or sent us a message. It’s always great to hear from you.

Along with the video release, we spoke to IndieGames.com about our current progress with the game, where we want to take it from here, and our ultimate plan for the future. Please take a look!

To learn about where Scored Mode came from, we need to dial back the clock a bit and look at the genesis of Planck. The basic mechanics of the game were put together with the goal of creating an experience where crafting a cool music track via gameplay was the main reason why people would play. In other words, the moment-to-moment flow was its own reward.

One of the biggest feedback points we got, however, went something like this: “This is cool, but what’s my goal? What’s the purpose of the game?”

So we spent some time wrestling with the question of whether or not we should give players an explicit “purpose” to the game. We didn’t want to encourage the idea that there was a right way or a wrong way to interact with our interactive music systems. Conversely, we didn’t want Planck to be just a “toy” and not a game, too (and most ideally, it could be both of those things). It was clear that a lot of people wanted, or even needed, a goal-oriented framework to guide their experience.

Our first serious attempt to address this issue was through the implementation of various achievements strewn across the level. The problem, however, was that the achievements were dependent upon already knowing the mechanics– we would tell players their goal would be to “unlock all the blue motes,” for instance, before they really knew what unlocking motes was. 

What’s a simple evaluative goal that can be understood instantly? Well, that’s obvious: a numerical score. But we were actually a little hesitant about just throwing in numbers. Scoring, we thought, might be too extrinsic of a reward for players, making them focus on earning a larger number at the expense of enjoying the journey as its own reward.

The nice thing about organic development is that we can try things even if we have doubts about how they’ll work. After several rounds of iteration on the scoring system, though, I’m happy to say we all like the result quite a bit. There’s a fundamental hook to “keeping score” in the human brain that’s impossible to deny.

Lastly, the freeform exploration we originally envisioned isn’t going away, either. To accommodate both, we plan to offer two flavors: “Scored Mode” and “Free Mode”. Scored Mode is more like a traditional game, designed to reward mastery. Free Mode is Planck in its unadorned, toy-like form: our mechanics, there for you to play and experiment with as you see fit.

Our organic development process means that, while we long knew we needed something for this, we hadn’t really designed or specced anything out– until just the other night when the team was chatting and suddenly hit upon the seed of right framework. It was startling how obvious that it was the right idea: there was a palpable sense in the air that the missing piece of the puzzle had just fallen into place. That great moment is the fruit of our experiment with the development philosophy that I recently had the chance to speak to Joystiq about– a kind of process where the games “sort of take on their own life and go wherever they want to.”

So what is this awesome idea? I’m afraid you’ll have to stay tuned to find out! After all, we just came up with the idea the other day– we need to bang on it a bit before we have something to show. But if you want an early look, two of the Shadegrown crew are headed out to the 2011 Game Developers Conference next week. Let us know if you’d like to meet up. We’d love to see you there and we might just have a build with us.

In first and most exciting news, a week or so ago composer Chad Bechard started lobbing over brand-new bits of sound to us. Some quick work by Brenton got these pieces working in engine a couple days ago (see the mysterious screenshot of the Unity inspector to the right!), and while it’s still quite rough, nobody has played the preliminary scripting and not come away with a big stupid grin on his or her face. I know that on a certain level it’s bad form for me to be a tease and say we’re excited about stuff we can’t share yet, but… well, I am.

We’re also delighted to note that the 2011 Independent Games Festival has recognized our Planck Playtest Two build with an Honorable Mention in the Audio category. What we sent to the judges was a little bit less than a complete game, and we were up against a very strong lineup of contenders, so it was great to see our work get some love from the IGF. To top it off, playWISE gaming blog called Planck Playtest Two one of the “hidden gems” of 2010 in a year-end roundup! Thank you all for enjoying what we have so far.

We remain, as always, your Shadegrown Games.

If you came here looking for the playtest build link, you might have noticed that we’ve taken it down for the time being. We want to thank everyone who played the build and especially those who discussed it with us and with each other. Sharing work and putting stuff out into the wild always contains an element of fear, so it was great to see that the game 1. did not immediately blow up and 2. seemed to fare well in the court of somewhat-public opinion. The data and feedback we gathered will help us immensely as we continue to develop Planck! Finally, if you did miss the playtest build and wanted very badly to play it, or wanted to share it with someone, just use the Contact Us page to send me a note and I’ll hook you up.

See you next year!