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New video by GDC: Board Game Design Day: KeyForge: Creating the World's First Unique Deck Game




The portraits at the art exhibition in reminded me of my face close-ups in my , although you find these in many other RPGs, of course. Art repeats itself in different media :) .





















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Some thoughts on our game and what we plan to offer as an entry point. What do you want in a "Starter Bundle"?




We added a Tactical Knife to our Board Shop! It’s made of grey acrylic and could work well in combat/survival/hunting board games. 17mm included for scale. See it here:






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Super excited, recently applied to DreamHack summer student showcase with our game "Summit" and we got in! Do I know anyone going there? If yes, come hang out & play 15-17th june! ;D



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Dal 1980 in poi, l'industria dei videogames si è sviluppata fino a diventare gigantesca, superando per fatturato sia il cinema che la musica.
















Get this set of high resolution planar maps for the creation of mountain landscapes! ➡️ Enjoy 20% off sitewide all week w/ code CUBEBRUSH2



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The finished product. The pictures don’t do it justice it looks better in person but me and the client are happy wit it so 🤙🏽.
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$100 B&W PORTRAITS $200 WATERCOLOR PORTRAITS DM ME A$AP.
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Amazing water 💦💦💦
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#AntariaOnline #mmorpg #indiegame #indiegames #gamescreenshot #gameart #steamgames #onlinegame #onlinegames #onlinegamer #multiplayer #gamergeek #gamerlife #gameaddict #videogamer #videogamers #gamedesign #videogaming #unity3d #pcgames #madewithunity #computergames #gamedev #water #gamewater
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Development Update 22/April/2019

Overview

Since I last posted, I’ve managed to refine the player character, including all movement animations, which has allowed me to focus more on the rest of the world building. I’ve also finished the lighting engine to make for some really interesting environment visuals, as well as begun working on how the world map will look and work.

Random-World-building Methods of today’s Games

After playing plenty of games that use random-generation for building their world, I feel like most of the time their world is built from either one of two methods:

1.) A completely random world built from building blocks using a grid-like algorithm. This results in the game being either organised, geometrical and mathematical - or alternatively completely erratic with meaningless layouts. With examples being Nuclear Throne, Terraria, No Man’s Sky and Minecraft, if done right then these worlds can be infinite and filled to the brim with content. I feel like these worlds are great when played as arcade sandboxes but are very difficult to control and result in the world looking and feeling as if there is little reason to how the world is structured and resulting in feeling like you’re exploring an algorithm rather than a world.

2.) The other method of world generation that you see in these types of games are when you are handed a selection of pre-defined areas that have been hand-tailored, resulting in better quality and more believable worlds but means you are often confronted with the same scene multiple times. Examples include Enter the Gungeon, Darkest Dungeon, Stranded Deep and

The closest I’ve ever felt to exploring a true random world that felt detailed and real was the introduction of Alpha version A17 of 7 Days to Die. Whilst not perfect, the forests and wilderness felt untamed and natural and the cities felt like they were built by man - not an algorithm - which made walking through the world of 7 Days to Die feel like actual exploration. 


Deciding on a World-building Method

For Meatscrew, I want to make sure that walking through the world and stumbling upon something feels like actual discovery. I want to make sure that the player’s expectations of what to find are challenged at all times.

For example, finding some forgotten ruins in the middle of a forest won’t always mean finding a deep dungeon with a typical box of loot at the end and a shortcut back to the exit. Sometimes the ruin will be just that - a ruin. A point of interest that tells a short story. Having regular occurrences like this gives much more meaning to finding an actual enter-able dungeon. The reward of searching will feel much greater as opposed to spoon-feeding dungeons to the player at regular intervals as they play.

But this poses a real problem - the player will be walking for a long time between dungeons and will get bored quickly. Let’s think about this for a second…

The game DayZ was at one point massively popular. It was a spectacle of a game that gave you a real feeling in your stomach when your character came across danger, where you risked losing all of your hard-earned loot that you spent 3 hours gathering and all those miles walked would have been for nothing. That feeling of excitement in a player’s stomach seems to be hard to come by today as I feel games seem to batter the player with content as much as possible in order to keep them interested - even if this content is meaningless and stale. Examples being generic fetch quests, loot boxes shoved in meaningless places and huge choices of weapons handed to the player constantly - resulting in the player regularly discarding weapons like disposable tools. You feel no connection to any of the loot or locations that you find.

So DayZ gave us that great feeling of ownership over the loot we found because finding that loot took time, effort and luck. It wasn’t spoon-fed to us in order to keep us interested - we had to earn the loot and look after it. 

With Meatscrew, I want to replicate this feeling but I also want to improve where DayZ fell short. DayZ had no endgame material. Once you found all the loot, there was absolutely nothing to do other than murder other players. Players in Meatscrew will have a goal of travelling to the very difficult parts of the world, beating extremely hard bosses and ultimately fulfilling the player character’s story (which for now I’m keeping under wraps!). Dungeons and discoveries in Meatscrew will often result hold a permanent upgrade/ unlock that the player can carry between runs. For example, finding a dungeon in a run may result in the player unlocking a new item that can now appear in future runs. This makes exploration really worthwhile as each dungeon can hold a secret that will affect the rest of the game for the player. 

What’s next?

Once I finish up on how the world map will look (which I’m also keeping under wraps), then I’ll begin implementing the system that allows the player to move between map regions.

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👻 Free Horror Soundtrack Music “Hollow”. Free download in bio link! Follow @gravity.sound for more free music.
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🎶 Free Jazz Swing Instrumental track “Jittery”. Link in bio, follow @gravity.sound for more free music.
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Dev Diary #4: Mid Air Suspension; Better Jumping

Another one, things are rough, I’ll get better with time.

Dead Players Tell All Tales

Pirates! One of my favorite things, sadly in my least favorite world so far. Haul anchor and drop sail cause this is gonna be a long voyage.

Story:

Fusing “A Pirate’s Life” with exposition actually does a great job at engaging us while telling us where we are inside the films story. Though I must admit the song lingers on a little too long.

We find ourselves inside Davy Jone’s locker as we start the level, so that places us at the third movie. Most of my problems with the story of this world stem from this choice. Even if you did watch all of the films, there is a lack of build up towards the climax at the end of the world. We have almost no time to bond with characters, set the stakes, or build dramatic tension before the final fight. Hell, if you don’t remember the movie well you would be completely lost as to what was going on! Right before the final fight Elizabeth makes a rousing speech spouting of freedom and the need to fight. If you didn’t understand why they needed a speech to boost morale and turn the tides of battle then this speech has no emotional weight.

In particular Jack is devoid of all of the charm and precociousness we saw in the films and the voice actor for Davy Jones seems far off (Hard to live up to the great actor who portrayed him in the film). This was one of the instances with which I feel like it would’ve been better not to go with the film as the story and instead just have a fun high seas adventure with Captain Jack.

So the story of the film doesn’t transfer over well, let’s focus on the other aspect of it. Luxord shows up periodically trying to figure out about a mysterious black box the organization has been looking for. His interactions with Jack and use of the parley gag were actually quite fun and I felt like Jack and Luxord mixed well together. Of course the black box wasn’t what he was looking for and he quickly made his escape, though I liked that they decided to have him show up at all. Over-arcing story seems to be gaining a little steam.

Design:

KH2′s design of Port Royal always seemed off to me. Having live action transferred over would be fine, but they went with the grittier more realistic look rather than making them more cartoonish. While the bump in graphics mitigates this a little, the world still looks awkward and out of place compared to the aesthetic of Sora and the gang.

All of the characters eyes seemed glossy and reflective in a strange way. Their faces also conveyed much less emotions so the already unemotional story was not helped by the characters all looking apathetic.

The design of Port Royal felt the same to the town in Tangled, filled with characters and life. The islands and water themselves looked gorgeous, the newer engine really showing its power.

Mechanics:

Oh god where to start…

The aerial combat towards the start of the level was actually rather fun. Bouncing from heartless to heartless while shooting at the larger dinosaur bird thing felt like a good culmination of multiple mechanics: R1 movement and classic mounted combat. My issue comes in with how slowly I was able to move while mounted. The ability to boost forward to more easily catch up with the bird pterodactyl thingie would’ve given made me feel like I was setting the pace of the combat, and not the flying undead bird thingie. (I could’ve looked up what it was called, but I didn’t)

I release a large exasperated sigh and have horror flashbacks to KH1′s Atlantis as I start writing this next piece. Now, to be fair, the underwater combat/section was much more merciful than KH1. Mainly because it was short. The combat felt stagnant and forced as we were unable to form change or swap out our keyblades. Have a really great mechanic? Nope, throw that shit away and give us a single combo to spam over and over as we flop around not controlling where Sora goes. Though I did really like the idea of modifying the spells to be more underwater friendly, but it didn’t do enough to save the lack of keyblade fun. We even got a small boss in this section, which seems weird mainly because it didn’t do anything remotely boss like. He felt less like a boss and more like a fish that never learned from Magikarp that flail was an ineffective attack.

Now on to the biggest issue I had with this level. Ship… Combat… Don’t get me wrong, I have had ship combat in other games and have genuinely enjoyed it. I will be the first to admit that it is a very tricky mechanic to work properly and is not for the enjoyment of everyone. This iteration of it was everything I dislike about ship combat. The camera is too zoomed in to be able to effectively see the battlefield and the movement wasn’t quick enough not only as a ship but when moving the cannons. Upgrading your ship was possible but for the life of me I couldn’t figure it out. I know you needed to collect more crabs and I went into town to find more, only to be disappointed in finding none. I figured I would just use the extra I had but couldn’t find where to turn them in back at the Port. Very unclear as to how to improve my ship.

As I left Port Royal I came across and island with a very large unbreakable box marked with a red X. I tried slashing it, spell casting it, and shooting it with cannons. Eventually I got frustrated and moved on, not caring what sort of loot it had. Chests that have special ways of opening them are supposed to inspire desire, the want to figure out how to open the chest and get whatever shinies are inside. I felt no need to figure this out as the game gave me no inclination as to what was inside, or how to actually open said box. Instead it felt like a red herring and a huge disappointment to my pirating ways.

The fight leaving Port Royal right before the Maelstrom final battle was infuriating. All of my problems with ship combat pulled into one, mixed in with wonky mechanics. The flagship (the final big red one) was excruciatingly painful of an enemy to fight. Firstly, he teleports in front of you randomly, so if you have a chance to lean in and do tons of damage, he will teleport away as soon as you hit the special firing button. Secondly, he constantly spawns extra ships no matter how many you shoot down. Now, I don’t have a problem with this in spirit, but when your ship combat normally is taking down the smaller ships and saving the bigger ships for last, forcing us to do the opposite seems a little irksome unless otherwise stated. If we had the ability to heal or repair our ship in some way than I wouldn’t care so much. I would sink the smaller ships for a little bit while taking chip damage along the way until I realized my plans weren’t working. Instead of this I slowly died twice while realizing that my plans weren’t going to work. Almost no game makes dying enjoyable, with the exception being the Arkham series when the villains would riff on Batman for failing miserably.

The Kraken fight was just as boring an unengaging as the other ship combat, so I am just going to blow past it.

The fight with Davy Jones was also a bit of a let down. If you decided to make the villain of the movie be the final boss, I don’t have an issue with it, but make their combat more engaging then what just the character does. Davy Jones slashed at me and summoned tentacles. He himself didn’t hit very hard and my massive AoE took care of most of the tentacles. Not once did I have to pause to think about strategy or mitigate any sort of damage. Hack, slash, repeat, boring.

Final Thoughts:

This world was a disappointment after having so many previous fun worlds. But that’s also why I am so willing to forgive it. This was truly the first bad world I have found while playing this game. Unemotional story, irksome mechanics, and choppy visuals all added up to a High Seas Horror Show. Even with all my problems with this world, I still find myself extremely eager to continue playing, knowing that the game itself is still a huge win.

Level of Enjoyment: NOT getting a choreographed song and dance number in skimpy clothing (both men and women)

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Disassociation and Daydreaming

The basis of the project that I am making is based on my own experiences and struggles with disassociation, which also ties in with anxiety and depression, as well as something called Maladaptive Daydreaming disorder, and is meant to be a representation of such concepts. 

It will be a game in which the player (that’s you) will be climbing up the base of a mountain and the further you get, the more surreal it becomes - chunks of the mountain are missing and if you look into them you will see brightly shining crystals that are jutting out from the soil. You get higher and these become more common, as well as the top of the mountain being surrounded by floating islands, which is where the chunks in the mountain came from. You then have the option to keep exploring up the islands, getting higher and higher as things become more fuzzy and blurry as you start to enter the cloud layer. You also notice that you are stuck to the islands by their own gravitational force - this is the magic of the crystals. As you climb, you also see remnants of what looked like a mountainous town that was ripped apart by the earth as well as birds stuck in the gravitational pull. You get higher and soon see the skeletons of some of those birds. Finally, you reach the highest island, which breaks away as you do, leaving you stranded in the clouds.

This transition is supposed to represent the transition from real life consciousness to the state of disassociation, specifically the disconnect from ones self. The idea is that the higher up the mountain you get, the more foggy and surreal things become, until ultimately you are completely detached from the world, which is representative of your self.

It also fits with Maladaptive Daydreaming Disorder in a sense that you get further and further away from the ‘self’ (which is the ground) and enter a fantasy world that is fun, exciting, and colorful. Sometimes one can find themselves stuck in a daydream, coming back to earth completely unaware of the previous events they physically experienced. 

I wanted to make a game that encompasses the disconnect inherit in both, and the phrase “Head stuck in the clouds” as well as my own experiences was the biggest inspiration for me in this regard. 

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I figure since I don’t add anything else to this I would at least add my Dev diaries. This is the third one. Added a lot of features/mechanics.

A Scary Good Time

Monstropolis! Home of monsters, children and tons of heavy machinery. Overall this level seemed very straight forward and kept me engaged the entire time.

Story:

Very simple story in which it’s essence is returning Boo to her door. The rest of the level is all of the events and persons that get in the way of returning Boo. The explanation for Randall’s return and how it ties into the overarcing KH story felt natural and not like some hokey excuse to have the villain return. Boo’s laughter and its ability to power the environment also tied in nicely throughout the level, forcing us to stop and make her laugh in order to continue through.

Towards the end I was happy with Vanitas appearing and attempting to steal part of Sora’s heart, but was even more surprised when Sully stopped him. Usually Sora and the gang go into the worlds and help their inhabitants with their problems, it was nice for a change to see the opposite where a worlds characters directly help/save Sora.

Design:

So overall the world didn’t feel too large (which I personally was a fan of) in that most of the time you are going from corridor to large room back to corridor. It definitely funnels you the direction you are supposed to go but litters the entire level with lots to smash, fight, and discover.

Halfway through the world you encounter parts that are on fire, which upped the stakes a bit by surrounding you with fire that could actually hurt you! A small criticism is that we don’t get much notice that the fire will directly hurt you and that you should stop to equip water spells on the quick bar to make the fighting easier. Still, I had very little problem smashing and slicing my way through it.

The door rooms and factory were both gorgeous, though parts of the factory seemed to not have enough variability in their environment. One part they went into this sort of boiler/water room and I got so excited to see different parts of the factory and what they do, but this was only one room.

Also, Goofy’s eyes are terrifying!!! All the disguises looked gorgeous and appropriate for the characters but Goofy’s eyes gave my nightmares nightmares.

Mechanics:

Each fight felt like it flowed well from one to the other with plenty of variability of the Unversed. Some big, lots of small, allowing for each keyblade, spell, or any other ability to have some sort of use in it.

While sliding on the rails that carry the doors I felt like the heartless appeared and attacked a tad too quickly for me to react. Frequently I got hit not because I couldn’t dodge, but because I was attacking while their spells were already being flung at me. They cast them so quickly after appearing that it didn’t give me much time to choose to attack or defend. These went quickly though so it never got annoying.

Randall’s evil villain death traps was a great example of giving you a simple problem with multiple solutions. Get to the other side of this dangerous area: You can use the covers, dash through, or go around each laser in some way or another. It really allows freedom of movement and environment to solve the room in any way you want. I also enjoyed Randall’s chastisizing of us the entire time we are running through.

The final pile of goop they called a boss, while not being the most imaginative of enemies, was a rather enjoyable one. I felt like I had to memorize his pattern of attack and block accordingly so that I had my own chance to attack. This felt very Dark Souls (a game I don’t play because it is far too hard (Yes, I am a filthy casual =P)) and I really enjoyed it. Waiting for the moment to strike made the hits much more satisfying. Medium difficulty, quite fun!

Side note: There are ladders in the world but Sora can’t climb them!? The boy can scale 90 degree horizontal walls but not a friggin ladder? Sora continues to laugh at the laws of physics

Final Thoughts:

While never being a huge fan of the original Monsters Inc movie, I certainly enjoyed the world and characters of this one. The story felt engaging and heartfelt from start to end. The fights were fun and frequent and I have to say I really loved this level.

Level of Enjoyment: Bowling for cyclopes