Rust on RHEL WSL2

I’ve been doing a lot of back end investigation the past few months – trying to build something to support future projects. Most of it’s just random poking about with new technologies and different ways of doing “stuff” but then sometimes while doing this you find something that is really cool and resonates with the way your brain works. For me this month it was Rust and RHEL WSL.

I got here by a round about route of looking at golang programming and docker integration for back end processing of a game. A way to offload non-game-critical systems to other processors. Like a high score system that keeps player profiles and scores online which can be called from within the game when needed. I know there are heaps of good services out there that do this – but I like poking into stuff and having that level of control.

The other thing is – sometimes stuff just makes sense. I’ve been a long time linux user and champion but have always been locked into a Wintel desktop in the studio due to the support needs of my audio kit. (I have a Line 6 KB37 which integrates the midi keyboard and guitar effects pedals into one unit – it’s freaking awesome and I’m terrified that one day it will break and be out of support). I’d run linux as a virtual machine and used cygwin and my favourite mobaXterm as a solution to this but while poking around within the docker community I came across WSL. The Windows Subsystem for Linux.


The Windows Subsystem for Linux is a compatibility layer which runs Linux binary executables natively on Windows. WSL v2 has a real Linux kernel (though there are some storage issues if you need more info read the docs). The default linux kernel is Ubuntu which I’m OK with – one of my favourite linux distributions is the Ubuntu Studio but I’ve been a Red Hat admin for a long time so am more comfortable there but there was no RHEL or CentOS supported platform. But then I found the RHWSL project by a Japanese Developer called Yosuke Sano and I was intrigued and immediately hooked.

Basically this is how I set up WSL on my Windows 10 Workstation.

C:\Users\zulu>wsl –list –online
The following is a list of valid distributions that can be installed.
Install using ‘wsl –install -d ‘.

C:\Users\zulu>WSL –list –all
Windows Subsystem for Linux Distributions:
Ubuntu (Default)

Ubuntu Ubuntu
Debian Debian GNU/Linux
kali-linux Kali Linux Rolling
openSUSE-42 openSUSE Leap 42
SLES-12 SUSE Linux Enterprise Server v12
Ubuntu-16.04 Ubuntu 16.04 LTS
Ubuntu-18.04 Ubuntu 18.04 LTS
Ubuntu-20.04 Ubuntu 20.04 LTS

C:\Users\zulu>wsl –set-default-version 2
For information on key differences with WSL 2 please visit
The operation completed successfully.

C:\Users\zulu>WSL –HELP
Invalid command line option: –HELP
Copyright (c) Microsoft Corporation. All rights reserved.
Usage: wsl.exe [Argument] [Options…] [CommandLine]

I downloaded the RHWSL package from git, extracted it and run the executable to register the package with WSL and install the root file system and that was it.

This is how I set the RHWSL distribution as my default:

d:\RedHat\RHWSL>wsl -d RHWSL

Here are a bunch of useful links if you want to explore more:

If you want more info on WSL yosukes-dev has an “Awesome” resource list.


I started looking at Rust as part of a wider investigation into “modern” programming languages. I spent a few weeks looking at go (golang) and as much as it was a great multi-purpose language and super easy to start using I was a little gobsmacked at how large the binaries were (they are statically compiled) and being someone who is always on tiny machines I kept getting a niggling feeling that a whole system of go programs would be a big chunk of disk on a small device doing work that that might be easier done slower with a simple shell script (I exaggerate!). Anyway in a lot of the stuff I read golang and rust were comparable. I will come back to go as the community and contributions seemed most excellent.

Plus Rust made sense to me in places where Go didn’t. I really don’t have a logical excuse here or a well reasoned argument. Sometimes you just like a language cause it “feels” right. I had the same thing with Ruby. Anyway this is how I got started with Rust on the RHWSL…
If you’re a Windows Subsystem for Linux user run the following in your terminal, then follow the on-screen instructions to install Rust.

curl –proto ‘=https’ –tlsv1.2 -sSf | sh

I started following the hello world tutorial to set up the system and it wasn’t all plain sailing. For one I probably should have done the install as a normal user but after mucking around with environment variables and permissions into the root user directories it was just easier to do the work as root. (I know rolling over in my grave). So it wasn’t all plain sailing – and once I got to the compile stage there were a few basic compiling tools that the RHWSL needed. This is how it went:

[root@Venom RHWSL]# mkdir rustProgramming
[root@Venom RHWSL]# cd rustProgramming/
[root@Venom rustProgramming]# cargo new hello_world
Created binary (application) hello_world package
[root@Venom rustProgramming]#
[root@Venom rustProgramming]# ls -ltr
total 0
drwxrwxrwx 1 root root 4096 Feb 8 18:27 hello_world
[root@Venom rustProgramming]#
[root@Venom rustProgramming]# cd hello_world/
[root@Venom hello_world]# ls -ltr
total 0
-rwxrwxrwx 1 root root 180 Feb 8 18:27 Cargo.toml
drwxrwxrwx 1 root root 4096 Feb 8 18:27 src

[root@Venom hello_world]# cat Cargo.toml
name = “hello_world”
version = “0.1.0”
edition = “2021”
See more keys and their definitions at

[root@Venom hello_world]# cat src/
fn main() {
println!(“Hello, world!”);

[root@Venom hello_world]# cargo build
Compiling hello_world v0.1.0 (/mnt/d/RedHat/RHWSL/rustProgramming/hello_world)
error: linker cc not found
= note: No such file or directory (os error 2)
error: could not compile hello_world due to previous error

Bingo – first problem – no compiler. I installed make and gcc – not really sure if I needed make but figured it would be a nice to have anyway.

[root@Venom hello_world]# which make
/usr/bin/which: no make in (/root/.cargo/bin:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/games:/usr/lib/wsl/lib:/mnt/c/Program Files (x86)/Common Files/Oracle/Java/javapath:/mnt/c/Program Files (x86)/ ……….lots more here

[root@Venom hello_world]# which cc
/usr/bin/which: no cc in (/root/.cargo/bin:/usr/local/sbin:/usr/local/bin:/usr/sbin:/usr/bin:/sbin:/bin:/usr/games:/usr/local/games:/usr/lib/wsl/lib:/mnt/c/Program Files (x86)/Common Files/Oracle/Java/javapath:/mnt/c/Program Files (x86)/ ……….lots more here

[root@Venom hello_world]# yum install make
…Dependencies resolved.
Package Architecture Version Repository Size
make x86_64 1:4.2.1-10.el8 ubi-8-baseos 498 k
…. more in here you don’t need to see …

[root@Venom hello_world]# which make

[root@Venom hello_world]# yum install gcc
…Dependencies resolved
…. more in here you don’t need to see …
Installing dependencies:
binutils x86_64 2.30-108.el8_5.1 ubi-8-baseos 5.8 M
cpp x86_64 8.5.0-4.el8_5 ubi-8-appstream 10 M
glibc-devel x86_64 2.28-164.el8 ubi-8-baseos 1.0 M
glibc-headers x86_64 2.28-164.el8 ubi-8-baseos 480 k
…Transaction Summary
Install 14 Packages
Total download size: 51 M
Installed size: 123 M

[root@Venom hello_world]# which cc

[root@Venom hello_world]# cargo build
Compiling hello_world v0.1.0 (/mnt/d/RedHat/RHWSL/rustProgramming/hello_world)
Finished dev [unoptimized + debuginfo] target(s) in 2.09s

[root@Venom hello_world]# ls -ltr
total 0
-rwxrwxrwx 1 root root 180 Feb 8 18:27 Cargo.toml
drwxrwxrwx 1 root root 4096 Feb 8 18:27 src
-rwxrwxrwx 1 root root 155 Feb 8 18:28 Cargo.lock
drwxrwxrwx 1 root root 4096 Feb 8 18:28 target

You can run the executable like this:

[root@Venom hello_world]# ./target/debug/hello_world
Hello, world!

Or just run from command:

[root@Venom hello_world]# cargo run
Finished dev [unoptimized + debuginfo] target(s) in 0.06s
Running target/debug/hello_world
Hello, world!

Yay !

Exporting Multiple Animations from Blender to Unity

This is one of those workflows that is always a bit fiddly to get right so I’ve documented how to do it here in case I forget! One of the downsides to being a solo developer is that your skillset is always being stretched by the available time so you can end up getting proficient in once aspect of game building and then by the time you get back to that phase you forget everything you’ve learned and all the tricks of efficiency and process. Also, in case someone else needs it.

This is what we are aiming for in Unity. An imported mesh with multiple animations being called independently.

Blender Workflow for Saving the Animations

Start with a new project. Select everything (the default cube and lamp) x –> delete.

In this case I’ve imported an existing fbx of a hand with supporting armature ready for animation. I won’t go over the modelling or rigging procedure there is plenty of help with that out there – but if you need it I would recommend the Riven Phoenix courses because they are so dense (these tutorials are no quick start or tricks videos but deep deep dives into the process and reasons behind it and how stuff works in Blender at a very technical level).

This is how I layout Blender for Animation with a dual screen front and right view with the Timeline below

Get your animation window set up and make sure the timeline is available at the bottom.

Making a Pose Library

In the Outliner select the Armature and make a Pose Library.
We can use this to set a few basic poses to make the animation process run a little easier.
The poses will be major key frames that we can interpolate between.

It’s not the best workflow but in the tech preview for upcoming Blender versions is an enhanced workflow for the animation process which looks really exciting – google it.

Make a Pose Library

Add the default pose as the first item.
Go to Pose Mode. Get the model into your default position and save this pose. (Important – this will be the pose that the model is exported as by default so try and make it your idle or standing pose).

Save several other poses (make sure you save all the bones you want the pose to effect – usually this is all the bones).
You can overwrite poses if you get it wrong.

Also, when a pose is added and a pose marker is created the whole keying set is used to determine which bones to key. But if any bones are selected, only keyframes for those bones are added, otherwise all bones in the keying set are keyed (this is why I usually have all the bones selected).

I’ve made several poses and saved them

It’s a good idea to set and select the poses a few times for each one to make sure you got it right. I’ve found that sometimes it’s a bit glitchy or I do something a little bit wrong and it doesn’t save properly (actually it’s probably not glitchy it’s probably just me).

That Book icon with the Question Mark is useful when you have all your poses completed. Pose libraries are saved to Actions. They are not generally used as actions, but can be converted to and from them. If you use this icon to “sanitize” the pose library it drops all the poses down to an Action with one pose per frame. So you can go into the NLA Editor window and select this track and sweep/scrub through them. Maybe this is useful as a clip in Unity if you want to split it up using the timing editor and make custom animations in Unity (never tried it).

Making the Animations

Go to Dope Sheet – and switch to the Action Editor View.

Action Editor

Make the animation (ie. start on the first frame – Assign the pose from the library – Shift + I save rotation and location. Go to last frame – assign the next pose – Shift + I and save again).

In the Timeline make sure you are on the beginning frame. Set the pose you want to move from (first keyframe) and save the required parameters.

Shift – I
Insert Location and Rotation
(make sure the Armature is Selected)

Start with the first pose
The Dope Sheet

Move to the next frame at a suitable scale and change the pose to your ending pose in the editor. Save the Location and Rotation parameters (if that’s all that’s changed).

Add the second pose
Saved Pose in the Dope Sheet

Pushing the Animation down the Action Stack

Once you are done hit the “Push Down” button. This is the magic button.

Magic Push Down Button

Next move over the the Nonlinear Animation Window.

The NLA Window

Your animations get made as Actions in the Non-Linear Action Editor Window: NlaTrack, NlaTrack.001, etc.

In the NLA Editor you can click the Star next to the NLA Track (rename them to make it friendlier) to scrub through the track. Make sure you got the right animation under the right name etc.

After hit Push Down after each animation is finished it appears as an NLA Track in the NLA Editor

I make a few more animations and hey presto. Each one of those NlaTracks is an animation that we can use in Unity. Also the PoseLib track is marked there with orange lines – one for each pose on a frame which is a good reference track if you need it.

The Animations Stacked up in the NLA ready for Export with the *.fbx

Export from Blender

These are the settings I use to export. It’s safer to manually select only the Armature and the Mesh here.

It’s useful to have Forward as -Z Forward for Unity.

Blender Export Settings

Import Into Unity

This is what it looks like when I import the .fbx into Unity.

The Animation Tab of the Asset (on import)

The animations come out as duplicates but you only need one set. Work out which one’s you want and delete the others using the minus button when you import. This bit can be a bit fiddly and sometimes I’ve had to do the process of exporting and importing a couple of times to get it to work. Sometimes what works is to drag and drop all your animations NLA Tracks into one track in the NLA Editor and select it with the star before exporting. Sometimes it works – sometimes not. Not sure why.

After that I drag the model into the scene and add an animation controller. Then you can just drag the animations from the imported model into the Animator window like below and set up transitions as you see fit. Below I’ve made them all come from an Any State and added some Triggers so I can play with them in the Window for Testing.

You can see the result of that testing in the .gif at the top of the article. (Apologies for the quality of that .gif it seems to have picked up some ghosting artifacts around the fingers – promise it looks awesome on the screen).

The Animator Controller

So there are a few limitations to this workflow that need to be mentioned. Some people like to save their whole .blend file into their Unity Assets so they can make updates on the fly while modelling etc. This won’t work with that set up. The animations need to be saved down to a *.fbx file so that Unity can find them when it’s imported as an asset. So if you like to have access to your .blend and use animations like this you need to export the *.fbx and import it again and have both .blend and .fbx in your asset folders which can be a bit confusing and messy and makes for a bigger project.


Blender Curved Cuts

For the latest game in development called The Gap I’ve been doing lots of work in Blender. Learning new tricks and speeding up my workflow. Making a curved cut is something I had not done a lot of and in the past I’ve struggled with the knife tool or knife projects. I’ve been using this method to make curved windows and door arches.

Here is a neat way to make a curved cut in an object with considerable control and only a little bit of mucking about.

Basically we are intersecting one mesh with another and bisecting the meshes with a knife cut to make a simple train tunnel shape.

We are going to start with the default cube which has been scaled up to ten and subdivided 7 times.

A subdivided cube

Next we are going to add a Nurbs Curve as a second object. This we are going to manipulate into the shape we want and later convert it to a mesh to intersect with our cube. You could use any other object like a Bezier Curve or a Path would be very flexible. I chose a Nurbs Curve because it was reasonably simple shape.

Add a Nurbs Curve

In Edit mode manipulate the curve into the shape you want, subdividing the points if required. I find that enabling snapping is a good way to start to keep everything the same on both sides of the curve and then turning it off for fine tuning.

Snapping Enabled and Handles

Once you have the shape you want you can clean up the curve (it’s best to have everything on the same plane).

The Curve is Ready for Converting to a Mesh

Once you are happy with it it is now converted to a mesh.

Convert to Mesh

Which is then extended through our cube!

Extended Intersecting Mesh

Both Meshes are Joined (Ctrl + J). Select the one last that you want to keep the name of.

Joined Meshes into one Object

Switch to Face Select mode and then the Mesh is Intersected and cut with the knife:

Then you can simply delete the faces from the Nurbs Curve Mesh and you are left with the nice curved cut.

Select Faces on one side of the cut and Delete
Delete the Faces on the other side of the Cut

Now you can select all the faces inside your nice curve and extrude them into the cube to make a train tunnel 🙂

Face Select
Extrude into the Cube
The Completed Curved Cut

A few final notes. As I mentioned before you can do this procedure with any mesh to make cuts and hollows with intersections. It’s a bit like using the boolean modifier. It’s not great in every situation as it can make a mess of your topology if you are not neat with your cuts and you can be left with some very tiny faces or triangles. But if you line things up nicely and merge your close vector points it’s a pretty simple and handy tool in the kit.

Blender: Simple Dishes Plates and Cups

One game currently in the pipe line is called The Gap. The game is about the gap between the private internal world of personal histories and how they feed and colour perceptions of the present. Esoteric I know right. But basically it’s an exploring game in an urban setting with lots of indoor areas that need indoor props. So I’ve been doing lots of modelling and researching new methods to make life easier when using Blender (which I love).

Part of this research is reading lots and lots of books and one of them was Blender for Animation and Film-Based Production by Michelangelo Manriqu. The book is great and I’d recommend it to anyone using Blender. One method that I had not seen in any other tutorials or books was this one for making complex cone or cylinder based meshes using Bezier circles and curves. Instead of starting with the basic forms and working complex changes on their geometry this method is quick and simple to make complex (and simple) shapes really fast.

It starts like this: Open a new Scene and add a Bezier Curve and a Bezier Circle:

This is the right view (num 3) with the Bezier Curve moved over a bit on the X axis and rotated 90 degrees on the Z. (R key, −90 , Enter).

A Bezier Circle (in orange) and the black line next to it is a Bezier Curve.

Select the Bezier Circle and Click on the little green Bezier Object button from the properties tab on the right.

Open the Geometry and Bevel sections and click on the Object button. Select your Bezier Curve as the Object.

This sets your Bezier Curve as the defining object for the edges and volume of the now filled Bezier Circle.

Set the Bezier Curve as the Object

Now Select the Bezier Curve and move to Edit mode. Subdivide it as much as you want and play with the shape and angle of the curve to get your Bezier Circle to form all sorts of complex shapes.

Once you are happy with what you have you can go back to Object mode and select the Bezier Circle and go to Object -> convert to mesh (or ALT+C Mesh from Curve/Meta/Surf/Text).

Here some examples I did for this post:

Platter with Bevels

I think the Chalice up there shows the power of this method for creating complex small objects very quickly and the relationship between the Bezier Curve and the resultant mesh.

The Gap will not be released for some time yet – years – it’s still early days but I’m really enjoying the process and it’s nice to be doing something personal and meaningful with game development.

One Hundred Arms

Still going with the Anatomy Studies.
I finished a hundred arms this week.
Next I’m moving on to figure studies and poses.

A Hundred Arms

One Hundred Hands

The last couple of weeks I’ve been drawing hands. I always feel like I need to draw better and never make the time to do it. I have always liked drawing hands but my output is often pretty sketchy (pun intended). I have a book by George Bridgeman called A Hundred Hands which is one of the few art books I have a physical copy of and I’ve tried before to draw them all at one point or another. Thing is though even though there is more than hundred hand drawings in the book they are often not clear with the detail and when you are copying them you get to the point where the information you want is missing.

The challenge I gave myself was to draw a hundred hands myself. I often see people on the internet showing off their hundred heads or hundred expressions etc. and thought it was a good thing to do. What’s funny is that in doing it I reckon those people on the internet must have drawn way more than a hundred of what they were drawing to look so good. After drawing a hundred hands, and you can see from the images above, some of them are really not looking that great. A different angle or just a bad day at the easel is all it takes to throw the drawing out.

But that said it was really good to go over all the anatomy and learn to see again the angles and shapes of the hand. After doing it I really can’t say that I’m that much better at drawing hands or drawing in general but I’m definitely better at looking at hands and seeing all the angles and components.

I often struggle with the disconnect between drawing from life and drawing templates or symbols for things that live in my head. I find drawing from life pretty easy. But drawing from memory where you are using symbols and learned shapes is very different and that’s one of the things I wanted to get better at. So often I find that drawing is a mixture of the two ways of doing it and one definitely helps the other.

Another thing I found was that it was much more fun and better for the work to be looking at a variety of sources. While I started with George I quickly moved on to every other conceivable source of hands I could think of. I used images from online, copying from life, pinterest, every anatomy source I owned, old comics and old masters.

Anyway I’ve moved on to a hundred forearms and plan to work my way around the body for a few more weeks till I get sick of it and need to go back to doing all the other stuff that I love like making games, and 3D models and music.

Zulu out.

Blender – Custom Bevels

This week for my game called The Gap I’ve been doing some house components. The game is set in the suburbs and there will be a lot of house interiors. In what I envision to be the opening scene of the game your main character wakes in his or her bedroom alive with excitement and ready to explore the world. Which has little to do with cornices but it’s these details that make the game look like a world and adds to the immersion.

So here is an example of a cornice that I have made in Blender using the Bevel Modifier.

The Cornice using a Vector Group and Custom Bevel

This starts as a cube with about a quarter cut out of the form and a reduced height. But any straight edge will do. First use the edge select to assign all the relevant parts you want to bevel into a Vector Group. (Select the edge and in the object data panel use the “assign” button under the Vector Group section). Then you add the Bevel Modifier and as you can see in the image above you use the Limit Method by Vector Group and then add your new Vector Group you just assigned. Choose Custom Bevel and use either one of the presets or use the graphing tool window at the bottom to create your own bevel shape. There are a couple of nice cornice style presets in that section to get you started. (It helps to play round with the Amount and Segments section at the top to improve the look – also try Smooth Shading on the object).

Below is a Window frame I used the same technique on but with a different profile. I used ctrl+R to make some loop cuts around the inside of my window frame and used the edge select to assign the cuts to a Vector Group. Then again I used a Bevel Modifier to make a custom set of ridges around the window frame to make it look like the fittings of the aluminium framing around the glazing of the window.

Custom Bevel on a Loop Cut to make Window Mouldings

You can see I also added a normal Bevel Modifier to the edge of Window Sill to create the outer wall shape where the rain runs away from the window frame.

I did a quick mock up in Unity to see how they performed under the often difficult lighting environment of the game engine. As you can see below by the shadows on the walls and spot light on the floor it’s not an ideal set up and the cornices are looking pretty crap. At the top of the room on the back wall I have two longer cornice pieces and a corner piece is visible as well. The two at the back are picking up different light sources and one looks lighter than the other. They are clearly three separate objects and not one nice clean line. It might help to add some more surface geometry to the longer pieces so they are not just one long face (loop cuts or subdivisions). Alternatively I could measure them out to fit the room exactly and meet in the corners – but then I would have to make multiple lengths instead of a more modular re-usable approach.

Cornices under lighting conditions in Unity

Character Design

The other thing I did this week that was actually productive is some more character designs. This one is Hippo Boy catching a football and a couple of different shading styles (still playing with Clip Studio and still enjoying it). Next up I’m thinking about all the ways I can program a mugby style football game.

Hippo Boy
Pop Style Hippo Boy

More Gaps

This is more concept art for a protagonist in the new project called The Gap. Okapi Boy – I have always loved Okapi’s. They are shy and remained hidden from the world in the deepest parts of the jungle until they were discovered in the 50’s. Beautiful Zebra like patterns on skin like a Deer. This is a deeply peaceful animal with large soulful eyes. He dreams and offers advice but you have to seek him out and finding him is not always easy or straightforward. In The Gap you get the chance to play as the Okapi for part of the story.

Okapi Boy

There used to be a great example of this rare creature in the Melbourne Museum Taxidermy collection (which I used to love but has now sadly been taken off the exhibit floor). You can take a virtual tour of the old “Wild” exhibition here.

I have a LOT more concept art to do as I want to get a very clear picture of my characters before I start modelling.

I also stared working on the programming for the game. One element I want to include in the story is a “mini-game” called Fox and Geese. It’s played on a chess board and was one of the first games I remember my dad teaching me how to play. It’s pretty straightforward and uses a chess board and pawns. Four white pawns are the Geese who can only move forward and diagonally one row at a time. The Fox is a black pawn that can move diagonally one space at a time in any direction. Moves are taken in turn and the aim of the game is for either the Fox to break the line of Geese or the Geese to “capture” the Fox so that he cannot move.

Fox And Geese

It’s early days yet with only the board set up and pawn selection scripts started but it was actually pretty fun setting up the programming that took care of the board. When you learn programming you get to do lots of arrays and nothing screams “ARRAY” like a chess board. So it’s kind of nice to use one of those basic skills that you use in all programming in such a nice simple example. You get to add a little interest to the basic array with the inclusion of alternating colours. Here is the code below:

using UnityEngine;

public class FnG_MakeBoard : MonoBehaviour
    public GameObject boardPiece;
    public Vector3[] positions;

    // Start is called before the first frame update
    void Start()
        positions = new Vector3[64];
        float start_x_pos = -1.75f;
        float start_y_pos = -1.75f;
        float rowcount = 0f;
        float linecount = 0f;

        for (int i = 0; i < positions.Length; i++)
            positions[i] = new Vector3(start_x_pos, start_y_pos, 0f);
            start_x_pos += 0.5f;
            rowcount += 1;

            if (rowcount == 8)
                start_x_pos = -1.75f;
                start_y_pos += 0.5f;
                rowcount = 0f;

            Instantiate(boardPiece, positions[i], Quaternion.identity);
            Color32 myRed = new Color32(185, 48, 48, 255);
            Color32 myGray = new Color32(106, 106, 106, 255);
            if (i % 2 == 0)
                if (linecount % 2 == 0)
                    boardPiece.GetComponent<SpriteRenderer>().color = myGray;
                if (linecount % 2 != 0)
                    boardPiece.GetComponent<SpriteRenderer>().color = myRed;
            if (i % 2 != 0)
                if (linecount % 2 == 0)
                    boardPiece.GetComponent<SpriteRenderer>().color = myRed;
                if (linecount % 2 != 0)
                    boardPiece.GetComponent<SpriteRenderer>().color = myGray;

The Gap – January

I finally started work on a new game after much hand wringing and soul searching. After the positive experience with Endless Elevator I decided not to push further into mobile gaming but to pivot to something with a little more scope on the PC platform.

It’s actually pretty hard to be sure that you can complete a game when you are a solo developer. You have to be fairly positive that it’s something you want to do for a long time and have it suck up so much of your free time and energy. I love making games so that’s the easy part. But what sort of game and what to make are different questions.

When I decided to do Endless Elevator it was mostly the good fortune of finding a handy tool set and a simple idea which collided into a quick mock up which I then forced into being as a full game over the space of a year and a half. Looking back that’s quite a chunk of time to spend on an off-the-cuff concept. Luckily by the end of it I was quite proud of what I’d achieved and was well ready to move on to something that was more meaningful to me as a person.

I spent the last month trying to work out what I was going to do next and had some grand ideas for more text based games, or a pixel art platformer game, or a first person fighting game. In the end I moved on to something more personal and gentle with an exploration and narrative based game called…

The Gap.

This is the idea that I jotted down:

The Gap is a suburb in Brisbane, Queensland, Australia. Named for it’s location at the foot of the pass between two mountain ranges…
It’s the place I grew up. We used to call it The Void because there was nothing there. The end of the suburbs. The very last stop on the bus route out of the city. Over the ranges was lush open farming country stretching all the way to the Darling Downs but crammed into this river valley to these foothills was nothing but homogenised suburban hell. Brisbane has the largest suburban land mass of any city in the world. It goes on for miles in all directions overflowing and spreading like dirty water from the broken banks of the muddy river. The houses are washed up against the surrounding foothills. The Gap was and felt about as far as you could go. Manicured lawns petered out and stopped here to give way to the lantana and the bush of the ranges. The hills crowded round us on three sides and funnelled the suburb into it. Trains wouldn’t run here. It’s past the end of the line. It’s fed by one main road like an artery that snakes it’s way through the rabbit warren of hills all the way from the city.

It’s just a place though. A setting. This story is about all the other gaps. The gap between people, between adulthood and childhood, fantasy and reality. The gap between the stars. It can be as close as the gap between my skin and bones or as wide as a newly broken friendship. The irony is not lost on me that being a void the gap is being filled by everything it’s not.

Standing above The Gap like three beacons are TV Towers. You can see them from anywhere in the city. They will always point you home…whatever that means to you.

We had another saying, “You can take the boy out of The Gap but you cannot take the gap out of the boy”.

To work it up I used a Storyboarding software that really helped crystalise the ideas: I can’t recommend this free software enough. The team who built it make it easy and intuitive to make pictures and text as a narrative in an attractive package.

I also started doing some character studies. I started working with Clip Studio for the artwork and I’m really liking it as a rapid sketching tool for the concept art.

I wanted to do a story about childhood and the suburbs. How the ordinary becomes extra-ordinary and stories charge the undertone of life.
All characters have at least one spirit animal or more. I want to use animals to reveal character. Characters morph and change with imaginary purpose.

As an adult childhood has become a mystery land of fable or legend. I want to bring that to life.

It also stems from a place of loss. Loss of innocence and simplicity. Loss of the spirit animal habitats and sadness that the creatures we identify with are disappearing from the wild.

Here are some of the first ideas I did for characters:

Tapir Boy
Okapi Boy
Bull Dog Boy

Next steps is a lot more concept art and story work and building up into the initial 3D models.

I also updated the infrastructure that runs this site using a new Bitnami image: it was a very simple and quick migration from my old stack and was complete in an evening. I still have a DNS issue with my domain to figure out but that’s a job for February.

Zulu out.

Endless Elevator – Achieves 1000 Installs !

(also Happy New Year!)

This is a great way to start the New Year. I am really excited to announce that since it’s release in July last year Endless Elevator has been downloaded over 1000 times from the Google Play Store! In less than six months with no advertising budget – it’s something to celebrate.

Huzzah !