This site uses cookies to improve your experience. To help us insure we adhere to various privacy regulations, please select your country/region of residence. If you do not select a country, we will assume you are from the United States. Select your Cookie Settings or view our Privacy Policy and Terms of Use.
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Used for the proper function of the website
Used for monitoring website traffic and interactions
Cookie Settings
Cookies and similar technologies are used on this website for proper function of the website, for tracking performance analytics and for marketing purposes. We and some of our third-party providers may use cookie data for various purposes. Please review the cookie settings below and choose your preference.
Strictly Necessary: Used for the proper function of the website
Performance/Analytics: Used for monitoring website traffic and interactions
The size gives the advantage that you can see much more terrain, so the action is much more interesting. As I was trying the builds, the game itself was telling me what things would be interesting to add, so I added them. How much did the project and your way of working change in the 8 years it took to build Moons of Darsalon? “I
I liked the idea of climbing / descending a big weird tree, and building it in Quake would be a big challenge, so that's what I prototyped first. So I divided the bumpy terrain into quadrants, with big tree roots gating each section. It wasn't really fun to fight on the actual tree branches.
“What interested us as game makers is the idea of building worlds that have depth and substance to them. Where players can navigate the terrain and feel a sense of history beneath their feet.” Sense of history Flynn sheds light on the studio’s design philosophy.
The rules for this item are complicated and fiddly, but if you work hard and think about it, you can build your character in a way that makes it sort of useful. I found fights in BG3 where it became really hard to target the high-up enemies. Then follow through. It's art, after all. Follow your vision. Me, I sold it. Nicely done.
Cult of the Lamb by Massive Monster This is a Hades-like / Binding of Issac-ish 2D action roguelike wrapped around a Don't Starve / Rimworld-y town building crafting survival system, with all the subversively violent dark cartoon humor of those references. After all, how many games offer you a "suffering musician" build?
But without any meaningful code access to upgrade terrain engines or lighting systems, that mostly means spamming set dressing and clutter everywhere. It's not uncommon to walk between towns and fight like 6 different packs of wolves. This decouples the player's behavior from their character build. Money sink.
The trick is making sure the fighting part is engaging. Restrictive terrain. Unless actually fighting a boss fight. Retraining your character should be affordable, so that you can easily experiment with different builds. That's the loop. The move part is always boring, and looting should always be fun. No suspense.
I’d like to talk about some of these examples today and examine how best to build meaning in our games. Consider the case of Fortnite, which started as a game about building forts while fighting off waves of zombies. So, is game design just sorting through accidents like this to see what works?
And basically EVERY SINGLE FIGHT is: dodge roll their moves, then counter attack with all your stuff. But it really doesn’t matter much what skills you take, it changes almost nothing, because there just isn’t much mechanical terrain in this game. That’s it. That’s about it!
I won’t go in-depth here since many others have explored this psychological terrain in much more detail but I will use some existing taxonomies like the Gamer Motivation Model from Quantic Foundry to illustrate my point. Base building The base can consist out of 10 different kinds of buildings which can be placed on its 34 building plots.
The interesting part is that you can see all these statues on the way in, foreshadowing potentially difficult bottlenecks on the way out (assuming you can’t directly confront and outright destroy all the living statues, a decent assumption for many builds). Not universally so, to be sure, but grind tends to be more of a roguelite thing.
I must say this has been an exciting time, having the opportunity to revisit everything to iron out as many kinks as possible, in many places adding new build possibilities or even whole new mechanics. Categorical Approach. As an example, by far the most sought after prototype was Lightpack 2.0,
I considered a lot of options here, going as far as thinking of building a new generator from scratch (one that would make encounters much easier to implement), but I liked the established and consistent core theme of existing Garrisons and didn’t want to mess with that. Rampant terrain destruction is awesome, by the way ;).
Balancing relies heavily on gear, maps are crowded with question marks, Boss fights feature repetitive mechanisms. The map models are rich and varied in terms of items, buildings, and terrain changes, which offsets outdated graphics performance. However, there are not many innovative areas in the core gameplay and UX.
We organize all of the trending information in your field so you don't have to. Join 5,000+ users and stay up to date on the latest articles your peers are reading.
You know about us, now we want to get to know you!
Let's personalize your content
Let's get even more personalized
We recognize your account from another site in our network, please click 'Send Email' below to continue with verifying your account and setting a password.
Let's personalize your content