#Aspiring Indie Game Developer

[neotrix-09]

PIRAZZA

The Maddened Beast of Alchemy --------------------------------------

Working on concepts for different games,and I wanted to make more inhuman OCs (People bore me,) so I created Pirazza! I may make more on him later.

Fun fact; He was partially inspired by two songs...

[barrow-belle]

I finished aces character design and here she is

This is her new official look

[moiraimyths]

Howdy, fateful friends! Are you an artist or illustrator with an interest in visual novels?

If so: Moirai Myths, creators of the visual novel The Good People (Na Daoine Maithe), are in need of guest artists! More specifically, we're looking for up to two artists to help us with the content graphics ("CGs") for Maeve and Shae's upcoming routes. All of the details will be listed on our application form (linked below), but here is the gist:

This is paid work with 20-30 business day deadlines per piece!

Complicated revisions in the post-sketch phase are compensated!

You will be prioritized for future guest artist opportunities!

You will be featured/credited on Moirai Myths' website and in the game itself!

Sound interesting? If so, apply here:

Click under the cut for some F&Q 👇

Who are you? (I'm new here!)

Hi! We're Moirai Myths: a small, newish visual novel company based out of Canada. We're making a game inspired by mostly Irish mythology, which was funded on Kickstarter in 2023! Our game's got fairy politics, a diverse cast, a Gaeilge-to-English translation tool, and routes that can be played either romantically or platonically! Also horses. An ungodly amount of horses, really.

If that odd pitch sounded intriguing, perhaps you'd like to play our demo! It's free on Steam & Itch.io.

Why are you looking for guest artists?

When we originally launched our Kickstarter, the plan was to have our three in-house artists collaborate on the CGs in the same way our header image was. However, we quickly realized that adding CGs, even if they're done collaboratively, onto the existing duties of our artists was a tall order. Add to that the departure of our original sprite artist (who has since been replaced by our graphic designer), and we determined that having our in-house team work on CGs was simply not possible if we still wanted our first release to happen in 2024. So, rather than omitting CGs or adding them in at a later time, we came up with the idea of hiring guest artists. Overall this means our CGs will be a bit more varied in terms of art style, but we like to think of this as a positive! NDM's development will take a number of years to complete in full, so we hope our CGs will allow us to feature a lot of artists either within the VN/indie dev community already, or artists who aspire to work in gaming and are looking for entry positions.

How long will applications remain open for?

This application will be open until Sunday, March 24 at midnight (EST)! If we intend to extend past that deadline, we'll make an announcement about it.

I can't apply right now. Will you look for more CG guest artists in the future?

Definitely! As mentioned, NDM will take a while to develop in full, so this is by no means your only opportunity to apply. That being said, we suspect we're going to end up shortlisting a number of artists over the course of this application period, and we intend to keep a list of all the runners-up. So, even if you won't be able to participate this time, it might be a good idea to apply anyway just to remain in our contacts! Either way, this will not be the last time we have apps.

Will you be looking for guest artists outside of CGs?

Maybe! We already have two guest artists (Nefukurou and Madi Funk) working on sprites and CGs respectively, so it's always possible that we'll have other artistic needs later down the line. Likewise, we may also reach out to past guest artists for future work with us, whether it's on this game or something else!

You say we need to sign an NDA. What does that entail?

The non-disclosure agreement essentially means you will be legally unable to publicly disclose any confidential information you become privy to as a result of working with us. This would include personal information about the developers, as well as spoilers from the game itself. In addition do this, you will be expected to sign over the IP and copyright of any artworks you produce for us.

Can I still use my artworks in portfolios, even if I don't own the copyright?

Yes! We'd only ask, if your portfolio is a website, that you wait to do so until after your art has been made public by us, either on our social media or via the publication of the game. Our first release is anticipated to happen later this year, most likely mid-autumn.

How do you guys feel about AI? Do you intend to use it, or would you ever train an AI off of the artworks whose copyright you own?

No.

Making a game is expensive and time-consuming, but AI is no replacement for human artistry. We fundamentally believe that any advancements in AI should be used for the purpose of giving people more time to make art, not take away opportunities for it. Moirai Myths will never, ever use AI or train an AI off your work.

***

If you've got any more questions for us that we didn't think to include here, feel free to send us an ask!

[fireflysummers]

Heroes, Gods, and the Invisible Narrator

Slay the Princess as a Framework for the Cyclical Reproduction of Colonialist Narratives in Data Science & Technology

An Essay by FireflySummers

All images are captioned.

Content Warnings: Body Horror, Discussion of Racism and Colonialism

Spoilers for Slay the Princess (2023) by @abby-howard and Black Tabby Games.

If you enjoy this article, consider reading my guide to arguing against the use of AI image generators or the academic article it's based on.

Introduction: The Hero and the Princess

You're on a path in the woods, and at the end of that path is a cabin. And in the basement of that cabin is a Princess. You're here to slay her. If you don't, it will be the end of the world.

Slay the Princess is a 2023 indie horror game by Abby Howard and published through Black Tabby Games, with voice talent by Jonathan Sims (yes, that one) and Nichole Goodnight.

The game starts with you dropped without context in the middle of the woods. But that’s alright. The Narrator is here to guide you. You are the hero, you have your weapon, and you have a monster to slay.

From there, it's the player's choice exactly how to proceed--whether that be listening to the voice of the narrator, or attempting to subvert him. You can kill her as instructed, or sit and chat, or even free her from her chains.

It doesn't matter.

Regardless of whether you are successful in your goal, you will inevitably (and often quite violently) die.

And then...

You are once again on a path in the woods.

The cycle repeats itself, the narrator seemingly none the wiser. But the woods are different, and so is the cabin. You're different, and worse... so is she.

Based on your actions in the previous loop, the princess has... changed. Distorted.

Had you attempted a daring rescue, she is now a damsel--sweet and submissive and already fallen in love with you.

Had you previously betrayed her, she has warped into something malicious and sinister, ready to repay your kindness in full.

But once again, it doesn't matter.

Because the no matter what you choose, no matter how the world around you contorts under the weight of repeated loops, it will always be you and the princess.

Why? Because that’s how the story goes.

So says the narrator.

So now that we've got that out of the way, let's talk about data.

Chapter I: Echoes and Shattered Mirrors

The problem with "data" is that we don't really think too much about it anymore. Or, at least, we think about it in the same abstract way we think about "a billion people." It's gotten so big, so seemingly impersonal that it's easy to forget that contemporary concept of "data" in the west is a phenomenon only a couple centuries old [1].

This modern conception of the word describes the ways that we translate the world into words and numbers that can then be categorized and analyzed. As such, data has a lot of practical uses, whether that be putting a rover on mars or tracking the outbreak of a viral contagion. However, this functionality makes it all too easy to overlook the fact that data itself is not neutral. It is gathered by people, sorted into categories designed by people, and interpreted by people. At every step, there are people involved, such that contemporary technology is embedded with systemic injustices, and not always by accident.

The reproduction of systems of oppression are most obvious from the margins. In his 2019 article As If, Ramon Amaro describes the Aspire Mirror (2016): a speculative design project by by Joy Buolamwini that contended with the fact that the standard facial recognition algorithm library had been trained almost exclusively on white faces. The simplest solution was to artificially lighten darker skin-tones for the algorithm to recognize, which Amaro uses to illustrate the way that technology is developed with an assumption of whiteness [2].

This observation applies across other intersections as well, such as trans identity [3], which has been colloquially dubbed "The Misgendering Machine" [4] for its insistence on classifying people into a strict gender binary based only on physical appearance.

This has also popped up in my own research, brought to my attention by the artist @b4kuch1n who has spoken at length with me about the connection between their Vietnamese heritage and the clothing they design in their illustrative work [5]. They call out AI image generators for reinforcing colonialism by stripping art with significant personal and cultural meaning of their context and history, using them to produce a poor facsimile to sell to the highest bidder.

All this describes an iterative cycle which defines normalcy through a white, western lens, with a limited range of acceptable diversity. Within this cycle, AI feeds on data gathered under colonialist ideology, then producing an artifact that reinforces existing systemic bias. When this data is, in turn, once again fed to the machine, that bias becomes all the more severe, and the range of acceptability narrower [2, 6].

Luciana Parisi and Denise Ferreira da Silva touch on a similar point in their article Black Feminist Tools, Critique, and Techno-poethics but on a much broader scale. They call up the Greek myth of Prometheus, who was punished by the gods for his hubris for stealing fire to give to humanity. Parisi and Ferreira da Silva point to how this, and other parts of the “Western Cosmology” map to humanity’s relationship with technology [7].

However, while this story seems to celebrate the technological advancement of humanity, there are darker colonialist undertones. It frames the world in terms of the gods and man, the oppressor and the oppressed; but it provides no other way of being. So instead the story repeats itself, with so-called progress an inextricable part of these two classes of being. This doesn’t bode well for visions of the future, then–because surely, eventually, the oppressed will one day be the machines [7, 8].

It’s… depressing. But it’s only really true, if you assume that that’s the only way the story could go.

“Stories don't care who takes part in them. All that matters is that the story gets told, that the story repeats. Or, if you prefer to think of it like this: stories are a parasitical life form, warping lives in the service only of the story itself.” ― Terry Pratchett, Witches Abroad

Chapter II: The Invisible Narrator

So why does the narrator get to call the shots on how a story might go? Who even are they? What do they want? How much power do they actually have?

With the exception of first person writing, a lot of the time the narrator is invisible. This is different from an unreliable narrator. With an unreliable narrator, at some point the audience becomes aware of their presence in order for the story to function as intended. An invisible narrator is never meant to be seen.

In Slay the Princess, the narrator would very much like to be invisible. Instead, he has been dragged out into the light, because you (and the inner voices you pick up along the way), are starting to argue with him. And he doesn’t like it.

Despite his claims that the princess will lie and cheat in order to escape, as the game progresses it’s clear that the narrator is every bit as manipulative–if not moreso, because he actually knows what’s going on. And, if the player tries to diverge from the path that he’s set before them, the correct path, then it rapidly becomes clear that he, at least to start, has the power to force that correct path.

While this is very much a narrative device, the act of calling attention to the narrator is important beyond that context. 

The Hero’s Journey is the true monomyth, something to which all stories can be reduced. It doesn’t matter that the author, Joseph Campbell, was a raging misogynist whose framework flattened cultures and stories to fit a western lens [9, 10]. It was used in Star Wars, so clearly it’s a universal framework.

The metaverse will soon replace the real world and crypto is the future of currency! Never mind that the organizations pushing it are suspiciously pyramid shaped. Get on board or be left behind.

Generative AI is pushed as the next big thing. The harms it inflicts on creatives and the harmful stereotypes it perpetuates are just bugs in the system. Never mind that the evangelists for this technology speak over the concerns of marginalized people [5]. That’s a skill issue, you gotta keep up.

Computers will eventually, likely soon, advance so far as to replace humans altogether. The robot uprising is on the horizon [8]. 

Who perpetuates these stories? What do they have to gain?

Why is the only story for the future replications of unjust systems of power? Why must the hero always slay the monster?

Because so says the narrator. And so long as they are invisible, it is simple to assume that this is simply the way things are.

Chapter III: The End...?

This is the part where Slay the Princess starts feeling like a stretch, but I’ve already killed the horse so I might as well beat it until the end too.

Because what is the end result here?

According to the game… collapse. A recursive story whose biases narrow the scope of each iteration ultimately collapses in on itself. The princess becomes so sharp that she is nothing but blades to eviscerate you. The princess becomes so perfect a damsel that she is a caricature of the trope. The story whittles itself away to nothing. And then the cycle begins anew.

There’s no climactic final battle with the narrator. He created this box, set things in motion, but he is beyond the player’s reach to confront directly. The only way out is to become aware of the box itself, and the agenda of the narrator. It requires acknowledgement of the artificiality of the roles thrust upon you and the Princess, the false dichotomy of hero or villain.

Slay the Princess doesn’t actually provide an answer to what lies outside of the box, merely acknowledges it as a limit that can be overcome. 

With regards to the less fanciful narratives that comprise our day-to-day lives, it’s difficult to see the boxes and dichotomies we’ve been forced into, let alone what might be beyond them. But if the limit placed is that there are no stories that can exist outside of capitalism, outside of colonialism, outside of rigid hierarchies and oppressive structures, then that limit can be broken [12].

Denouement: Doomed by the Narrative

Video games are an interesting artistic medium, due to their inherent interactivity. The commonly accepted mechanics of the medium, such as flavor text that provides in-game information and commentary, are an excellent example of an invisible narrator. Branching dialogue trees and multiple endings can help obscure this further, giving the player a sense of genuine agency… which provides an interesting opportunity to drag an invisible narrator into the light.

There are a number of games that have explored the power differential between the narrator and the player (The Stanley Parable, Little Misfortune, Undertale, Buddy.io, OneShot, etc…)

However, Slay the Princess works well here because it not only emphasizes the artificial limitations that the narrator sets on a story, but the way that these stories recursively loop in on themselves, reinforcing the fears and biases of previous iterations. 

Critical data theory probably had nothing to do with the game’s development (Abby Howard if you're reading this, lmk). However, it works as a surprisingly cohesive framework for illustrating the ways that we can become ensnared by a narrative, and the importance of knowing who, exactly, is narrating the story. Although it is difficult or impossible to conceptualize what might exist beyond the artificial limits placed by even a well-intentioned narrator, calling attention to them and the box they’ve constructed is the first step in breaking out of this cycle.

“You can't go around building a better world for people. Only people can build a better world for people. Otherwise it's just a cage.” ― Terry Pratchett, Witches Abroad

Epilogue

If you've read this far, thank you for your time! This was an adaptation of my final presentation for a Critical Data Studies course. Truthfully, this course posed quite a challenge--I found the readings of philosophers such as Kant, Adorno, Foucault, etc... difficult to parse. More contemporary scholars were significantly more accessible. My only hope is that I haven't gravely misinterpreted the scholars and researchers whose work inspired this piece.

I honestly feel like this might have worked best as a video essay, but I don't know how to do those, and don't have the time to learn or the money to outsource.

Slay the Princess is available for purchase now on Steam.

Screencaps from ManBadassHero Let's Plays: [Part 1] [Part 2] [Part 3] [Part 4] [Part 5] [Part 6]

Post Dividers by @cafekitsune

Citations:

Rosenberg, D. (2018). Data as word. Historical Studies in the Natural Sciences, 48(5), 557-567.

Amaro, Ramon. (2019). As If. e-flux Architecture. Becoming Digital. https://www.e-flux.com/architecture/becoming-digital/248073/as-if/

What Ethical AI Really Means by PhilosophyTube

Keyes, O. (2018). The misgendering machines: Trans/HCI implications of automatic gender recognition. Proceedings of the ACM on human-computer interaction, 2(CSCW), 1-22.

Allred, A.M., Aragon, C. (2023). Art in the Machine: Value Misalignment and AI “Art”. In: Luo, Y. (eds) Cooperative Design, Visualization, and Engineering. CDVE 2023. Lecture Notes in Computer Science, vol 14166. Springer, Cham. https://doi.org/10.1007/978-3-031-43815-8_4

Amaro, R. (2019). Artificial Intelligence: warped, colorful forms and their unclear geometries.

Parisisi, L., Ferreira da Silva, D. Black Feminist Tools, Critique, and Techno-poethics. e-flux. Issue #123. https://www.e-flux.com/journal/123/436929/black-feminist-tools-critique-and-techno-poethics/

AI - Our Shiny New Robot King | Sophie from Mars by Sophie From Mars

Joseph Campbell and the Myth of the Monomyth | Part 1 by Maggie Mae Fish

Joseph Campbell and the N@zis | Part 2 by Maggie Mae Fish

How Barbie Cis-ified the Matrix by Jessie Gender

[radiation]

Video games talk dont even mind me

Bro video games as a whole are so far behind movies in terms of storytelling and pacing that it’s kind of baffling. Which of course is obvious and makes sense for plenty of reasons but like, just think about it — watching movies a lot can’t help but train a certain muscle that gives you a strong instinct for structure. I find that people who watch movies very casually, without too much artistic consideration, and don’t really know the language associated with it are still very often irked by specific issues with a movie’s pacing, dialogue, etc and are relatively capable of putting it into words. Likewise, for many movies out there, regardless of your opinions on any specific directorial choices, you do feel as if the movie is essentially cohesive and creatives involved reasonably knew what they were doing and were acting very intentionally, and there weren’t any major oversights. This includes independent films as well. Meanwhile I think both players and developers much more commonly lack the instinct for narrative cohesion when it comes to video games. Definitely a fair amount of exceptions to this, but in general I find it’s difficult to find video games that are very narrative heavy & aspire to great artistic heights that don’t suffer from inherent structural problems, pedantic dialogue, tons of dead air, etc in a way that wouldn’t slide as easily in a movie. A lot these flaws certainly have to be due to the presence of gameplay elements and having to balance that with story when the two are almost always, at least in some small respect, inherently at odds. As for the inability for devs and players to pick up on / fix these flaws…is it because gameplay can distract from it and make up for it? With longer games that have runtimes closer to the experience of a television series, is there a similar reaction where if it’s long enough you will sit thru smaller, momentary issues because you enjoy the bigger picture? Yet games are a lot more engaging than a show as a audio, visual, and tactile experience, you can’t multitask and tune the information out as easily as with a boring episode of a show, so you’d think people would be more picky? But maybe because it’s so attention-demanding people are more immersed, and believe in the experience enough to more easily accept the story? Books demand the same kind of active attention to experience though, and the bar for story in books is a lot higher, so what gives? Well a lot of these have kind of obvious answers but still Interesting questions to ask that lead to Damn , That Is Still Crazy How Much This Shit Is In Its Infancy like sometimes I feel like I’m going crazy with how many writing issues are present in games, particularly in indie games that are Trying To Be Good At Writing that feel excessively obvious and yet I often struggle to find my sentiment mirrored by others. IDK. And back to movies the thing is I feel like if the same people trying to write these kind of games had pursued movies instead then they would’ve ended up making well structured movies that avoided all of these pitfalls. WHAT IS IT WITH GAMES? Well we know what it is with games and we could spend all day discussing a million more reasons this is the way it is but no matter what I think we should just be super conscientious of these pitfalls when making narrative focused games and aspire to a greater level of intentionality that is absolutely possible . Build that muscle by really understanding the quality of storytelling long-present in other mediums.Well the other issue with indie devs is that everyone believes they are totally breaking new ground story wise that they don’t take a step back, humble themselves a bit, and cross-reference what they’re doing with the tons of other stories that have already achieved similar things But thats a conversation for another day .

[beekeeperspicnic]

Hi! How's your day going? Are there any games that you would like to recommend? Except yours of course as It's already on my wishlist ❤️

My day is going goooood although I'm really tired! I was speaking at a conference for my day job. I'm a weirdo who loves public speaking, but it's still tiring.

So with my "supporting the indie game development community" hat on I will recommend checking out the demo for An English Haunting

I've been thinking of it as being Beekeeper's Picnic's much more professional and competent big brother - it's created in the same game engine, and the gorgeous pixel art is so aspirational for me.

And Arthur Conan Doyle is in it!

With my "what I'm actually spending a lot of time playing at the moment" hat on, I finally bought Red Dead Redemption a few weeks ago.

YEE-HAW

I'm putting so much effort into growing period appropriate facial hair

[neptunecookies]

Hiya! I'm looking for indie programmers, artists, and more for my video game!

Introduction & Summary

We're developing "My Life: The Video Game," a narrative-driven, first-person simulation-visual novel game centered around a 16-year-old teenager named Taylor, who returns to high school after years of homeschooling. Our game emphasizes mental health and healing, featuring engaging stories, relatable characters, and gameplay mechanics that highlight the importance of empathy and self-care. This is a chance to contribute to a game with the potential to resonate deeply with players, encouraging empathy and self-awareness.

Available Positions and Job Descriptions

As a solo aspiring indie developer, I'm seeking skilled individuals to join me in bringing this project to life. Remote, freelance/contract-based positions are available in the following roles:

Unity Developer (C# Programmer): Proficient in C# and Unity, responsible for implementing gameplay features, collaborating with me, and ensuring the game runs smoothly.

2D Artist: Create 2D artwork and assets that align with the game's modern-day city setting and high school environment, including character designs, environments, and props. The art style is a unique mix of abstract (think “Journey”) and hand-drawn (think “Ori and the Blind Forest”), aiming for an atmospheric, emotional tone.

2D Animator: Bring characters and environments to life through fluid animations, working closely with the artist to maintain a consistent visual style.

UI/UX Designer: Design intuitive and visually appealing user interfaces that enhance the player experience and align with the game's themes.

All positions are remote, with the possibility of extending into long-term roles. Candidates with multiple skill sets are welcome to apply for multiple positions if desired. These are unpaid/rev-share positions, ideal for individuals passionate about storytelling and mental health awareness. When the project finds success, team members will be the first considered for compensated work.

What We Are Looking For

Ideal candidates are passionate about storytelling and creating meaningful gaming experiences. Strong communication skills, the ability to work independently, and relevant experience in game development are essential.

The Project and Our Mission

As the creator and solo developer, I'm an aspiring game designer passionate about creating meaningful stories and immersive experiences. I believe in the power of games to promote understanding and empathy around important topics like mental health. "My Life: The Video Game" is my way of contributing to this mission, raising awareness, and fostering a sense of connection and support among players.

The game follows the story of Taylor, a teenager who faces challenges as they return to high school after years of homeschooling. It tackles themes such as anxiety, self-discovery, and the importance of friendship and understanding. By crafting an engaging narrative and relatable characters, I aim to create a powerful gaming experience that resonates with players and encourages conversations about mental well-being.

Progress

For interested candidates who want to learn more about the project before joining, please visit the following link for a document with information on the game's project timeline, additional information for those interested, gameplay mechanics, and more: Game Design Document. For those that are chosen, a comprehensive document will be provided. 

Contact

To apply, send a DM on Discord to @NeptuneCookies with your experience and a brief introduction.

Include the following information in your Discord DM:

Name and contact details

Role(s) you're applying for

Experience and qualifications

Brief introduction and your interest in the project

Additional materials, like portfolios or resumes, may be requested depending on the role. Selected candidates will be invited to a dedicated Discord server for collaboration.

[macdev-2004]

Hi! MACDev here!

Hi, the name is MACDev, and I'm an aspiring game developer. Recently, I've been making a game called Blood Quest, and I wanted to share it with all of you!

Follow my socials!

Youtube:

Tiktok:

And to follow news about Blood Quest that I haven't posted here:

Blood Quest Website:

And to those interested in the game releases directly, here's my itch.io page!

Kickstarter here:

[thegiftofgabes]

The Gift of Dice - Intro Post

I am Gabriel Caetano (they/them), and I am a queer, Latine parent, TRPG creator, audio producer, and game facilitator (aka GM) from Brazil.

Roleplaying Games

I make tabletop Roleplaying Games, as well as TTRPG-adjacent experiences.

I like fantasy, science fantasy, and weird fantasy the most and I have been more and more invested in looking at games as enablers of social experimentation and questioning.

I like to say that every game I make is a product of excellent taste and developing skill.

You can find my games at https://thegiftofdice.itch.io/

Indie Games Facilitator for Hire

I run and facilitate (aka GM) roleplaying games as a gig.

I have over 100 session under my belt, and growing, and a large catalogue of indie, alternative games to facilitate for players anywhere out there in the world, including Masks, Thirsty Sword Lesbians, Nibiru, Apocalypse Keys, Noctis Labyrinth, Troika!, Blades in the Dark, CBR+PNK, and many more.

You can browse through the dates I setup, or make a custom request.

Politics and Ethics

All TTRPG content has a price tag, except when I think it shouldn't, and all of them should have alternate methods of access for anyone who does not enjoy the privilege of earning dollars, euros, pounds, and other hegemon currencies.

Yet, non-white people, non-het, and non cis-male people anywhere who cannot afford to buy anything I make without putting their safety and well-being financially are welcome to get my stuff for free, one way or another.

I also offer seats for free or at a greatly reduced fee to people in the Global South, where the dollar exchange would make access to my game sessions absolutely crushing.

None of the content I create is compatible with Hasbro or Paizo products, or products by any company or individual that shares their ethics and predatory approach to industrializing an art form, on principle.

Additionally I do not use or rely on artificially generated content to create my games or run my sessions.

Game Design Principles

I've come across this game design manifesto and I've decided to adopt it for my own game design as best as I can and let it evolve as I grow as a game designer and writer.

against coercion: a game design manifesto by JPLeBreton

let players wonder about things and trust them to find answers;

connect players with patterns they find intrinsically fulfilling;

never treat a number going up as an inherently positive or meaningful even;

teach respect for the autonomy and boundaries of all things;

posit alternatives to fantasies of accumulation and extraction;

do not think of emotional responses as something you extract from players;

produce and distribute ethically;

aspire to more than escape.

Whether I'll succeed or fail at following these principles, or even how they will evolve over time, all I can say is let's play to find out.

Kindly, Gabriel Caetano

[rae-raewrites]

Btas riddler with a s/o who is an aspiring video game developer?

Awww just awww

BTAS riddler with a s/o who is an aspiring game developer

His days at Competitron remain happy memories despite his eventual firing. So many nights spent coding and redesigning the original design for riddle of the minotaur.

So when you ask “hey Eddie how’d you develop riddle of the minotaur?” He’s throughly intrigued

Any particular reason you’re asking dear? You know you can tell him anything

When you do blurt it out he’s absolutely stunned!

You want to get into game development!?! And your only just telling him now?!?

He absolutely starts imparting his hard earned knowledge to you

Sure he hasn’t worked on a full game in a bit but that doesn’t mean he forgot how to give players an engaging experience

“It’s about keeping players on there toes! If they can just walk all over your perfectly crafted design then then what’s the point?”

You two probably spend nights just planning everything out. Basically the project becomes your kid

He’s seen corporations take advantage of the little guys do he’d like it if you stayed indie,just so you don’t end up with coming into work one day to find your fired.

[barrow-belle]

Ok I have something big to announce. me and a big team of people are going to try and make a game!!!!!!!! It's called inter dimension tension or IDT for short currently working on the set in stone designs for all of the characters so far we have concept art for ace decoi Kirsten luner and the first boss named Bella!!!! Here are all the early concepts of them as they will all be heavily charged these are just bases

I'm excited to keep you all updated on how it's going!!!!

[brazmogu]

Ask Me (Almost) Anything

Ok, I'm still workin out stuff to post here, so I decided that maybe it might be a good idea to know what people actually would like to know. If you're an aspiring indie game dev or just curious about me in particular, just hit my ask box

Accolades

I am a Computer Science major with (as of now) 13 years of working experience

Of those, the last 6 years have been as a professional game developer

Most of my work experience has been in small-ish mobile gaming developers, in a variety of genres (but all of them in the F2P market)

I'm currently working on AAA

Caveats

I do not have a wide range of experience in professional game dev; I've been for most of my life (up to now) a solo indie developer, and professionally I am a game programmer

I do not plan to go into the depths of matters like other ask blogs; if I don't know something, we're out of luck (or not, but no guarantees)

working in AAA means I am unable to divulge a lot of stuff about my work; I also am not recommended to act as a representative for my company, so I will do my possible to not gie that away, let alone answer direct questions about that

[snowscapestudios]

Twilight Tonics - A dark fantasy potion crafting indie game

Hello everyone!

I'm James, a solo indie developer and I'm excited to introduce you to my latest project, Twilight Tonics, an immersive dark fantasy RPG that I've been developing.

In Twilight Tonics, you’ll step into the shoes of an aspiring alchemist and explore the mystical Twilight Vale. From gathering rare ingredients to crafting powerful potions, managing your own potion shop, and expanding your alchemical knowledge, this game offers a range of magical experiences.

The games art style is inspired by dark fantasy elements with vibrant, hand-painted textures, similar to that of 70's inspired dark fantasy art.

Want to know more? Read the full blog post on my website for detailed insights into the gameplay mechanics and the magical world I'm building:

🔗 Read more about Twilight Tonics

Stay tuned for more updates, behind-the-scenes content, and development news. Your support means the world to me!

[atwas-creations]

With the insanity that Unity's recent decisions have caused, I, as an aspiring game dev/designer, am looking to see what else is available. We all know about RPG Maker, GameMaker Studio, Godot, and Unreal. But if you're like me and have little to no understanding of code and limited finances, here are alternative indie engines I've scrounged up:

Idle Game Maker, the one I'm currently working with, built by Orteil of Cookie Clicker fame

Bitsy, and an associated pixel art tool called Pixsy

Pocket Platformer, similar to Bitsy, and code-free

Rogue Engine- requires download, but apparently, there's a tutorial

GDevelop- both 2D and 3D engines, has tutorials, and even has an option to playtest games in development and provide feedback (I am definitely trying out this one in the near future)

Heaps.io-requires download, and this honestly looks a little over my head right now, but might be worth checking into when I get a better understanding of code

Stride- 3D games, requires download, has docs and instructions so you can learn quickly

Bevy- 2D games for browser and mobile

LibGDX- now we're getting into engines that can make REAL games, some of the games in their showcase are on Steam

Defold- according to their showcase, this was used to make that mobile game Family Island that you've seen in so many ads

Love- don't be fooled by the childish font on their home page, the games in their showcase look amazing

HaxeFlixel- apparently used to make Friday Night Funkin'???

Armory3D, which apparently uses Blender

Solar2D, and here's their showcase- looks decent enough

Solarus- I didn't recognize the name, but I know I've heard of this, I've seen Zelda fans use this one. You have to download their launcher to play the games on PC.

DOME, which uses its own programming language

FNA, which calls itself a "reimplementation of Microsoft XNA"- if you remember, XNA no longer exists, but Eric Barone used it for Stardew Valley. FNA has been used to make games like Rogue Legacy (it's a real game, I got it on Steam).

Monogame- a direct descendant of XNA, being used for Stardew Valley's updates, and used to make a whole host of other popular indie games including 2 of my favorites: Axiom Verge and Celeste (so yeah, I'm definitely checking into Monogame if it's still around by the time I learn C#)

RPG in a Box, which looks really blocky and rough, but appears to be a cheaper solution than RPG Maker, especially for those new to the field. I already paid for RPG Maker, so I don't know if I'll use this one, but I'm putting it here for anyone else who may want to try it.

Adventure Game Studio- not sure how difficult it will be to use, but I'm seeing some decent-looking games in their showcase

RPG Paper Maker, which, I guess, makes 3D games out of pixel art? Says it's free to use, but if you want to sell your game, you'll need to buy a license. Fair enough, I suppose.

Narrat, another one I am DEFINITELY going to try, at least while I'm still learning. Has its own, very simple, easy to read script that is a step above Idle Game Maker's script, but not quite as complicated as "real" programming languages. Make RPG's and put them on Itch.io.

Ren'Py, for visual novels (apparently Doki Doki was made with this!?!)

Decker, can be used for various kinds of applications, not much for game-making, but maybe with a little imagination....

Engine.lol- I'm, uh, not sure what this is, but could be good for generating ideas.

EbitEngine- describes itself as "dead simple," used to make Bear's Restaurant.

Raylib- no tutorials, no built-in assets, you MUST know how to code- but it looks like a no-frills engine if you do know how to code. I don't, so I won't be using it, but if you do, go right ahead.

PyGame, which apparently uses Python coding language.

And this article listed all these and a few more that I didn't list here because they looked too expensive or too complicated.

There's also a Pixel Game Maker on Steam. It's 90 bucks right now (ouch!) but if you can get it, it looks like it'll be worth it.

[linuxgamenews]

Moonstone Island lets you step into the shoes of a budding alchemist this month

Moonstone Island creature-collecting life-sim game has a release date for Linux, Mac, and Windows PC. Studio Supersoft's dedicated team brought this to life with their hard work and passion. Which is due to make its way onto Steam soon. Dive into a realm of enchantment with the soon to release Moonstone Island. Announced during the 2023 MIX Next Online Showcase, indie developer Studio Supersoft, with publisher Raw Fury. Due to deliver a vibrant digital realm. This creation isn't just any standard game; it's a story driven exploration taking place in a universe of over 100 distinct islands. It also has a release date of September 20, 2023, coming Linux via Steam. If you've ever been taken by the hand-drawn visuals of Studio Ghibli's iconic films such as "Kiki’s Delivery Service" or "Castle in the Sky," you'll feel right at home. The Moonstone Island animation and art direction are a clear nod to these cinematic masterpieces. The creature-collecting life-sim drops you into the shoes of a budding alchemist. As tradition dictates, young alchemists embark on a journey, moving to an unfamiliar island among the clouds. All due to hone their skills. This isn't just a rite of passage; it's a chance to uncover the mysteries of the enigmatic Moonstone Island.

Moonstone Island | Date Reveal Trailer

Features:

A Majestic Universe Awaits Exploration: Your Moonstone Island journey isn't limited by foot.

Traverse the world through various means: balloons, brooms, and even gliders. Since each method offers a unique view of the distinct biomes and landscapes.

A Place to Call Your Own: As you venture, you'll have the chance to settle. With over 100 islands, each procedurally crafted, you have the freedom to choose, build, and personalize a sanctuary. Due to be more than just a home; it's a reflection of your adventure.

Bonding and Relationships: The islands aren't deserted. Vibrant communities with NPCs await your interaction. Forge friendships, go on casual outings, and perhaps even find love in Moonstone Island.

The Mystery of the Spirits: The islands are full of wild Spirits, creatures of lore and magic. As an aspiring alchemist, you have the unique skill to befriend these spirits. More than just companions, they'll stand by your side in strategic, card driven battles.

The Lure of the Unknown: Danger and reward often go hand in hand. Delve deep into dungeons, not only to confront challenges but also to uncover upgrades and treasures. There are also tales to uncover within Moonstone Island.

Alchemy & Innovation: Your alchemical prowess grows with experience. Unlock unique abilities, create potent brews, and even build your farm. The forest may be a hazard. But if you are ready, it becomes an exciting playground.

Terraria?

Now, here's a fun twist for fans. If you've ever dabbled with Terraria, an influential sandbox experience by Re-Logic, you'll be keen to know there's a unique surprise. Upon the release of Moonstone Island, adventurers can ally with Terraria's iconic Cool Slime. Doing so as an in-game Spirit companion. Of course, you don't have to wait to show your interest. Head over to Steam, and you can add Moonstone Island to your Wishlist. This isn't just another digital pastime; it's a deep creature-collecting life-sim to unfold on Linux, Mac, and Windows PC. Due to be release for $19.99 USD / £16.75 / 19,50€, plus a 15% launch discount on September 20th.

[devsgames]

Hi! I saw your post and decided to ask for an advice. I'm an aspiring level designer, but I have yet to start working on a portfolio 😅 I've finished level design course on my uni, and they taught us a lot of different things, but my question is, should I do a lot of level design for different games (like FPS, stealth, platformers) or just focus on what truly interests me? I worry that if I don't broaden my portfolio it will look bad, but then I think that designing for every single genre out there is kinda eh

Hi, thanks for the ask and congrats on finishing your course!!

First off I've answered some more generic portfolio advice in previous asks so I'd recommend checking some of those out too for wider advice on the subject of portfolios. I'll also include my obligatory plug to Anthony Panecasio's excellent "Pointers For Anyone Wishing to Build A Better Level Design Portfolio". Advice that works for most types of Portfolios, but written by an LD!

Per your question on LD specifically: I've absolutely been in your exact position as a level designer in college and I empathize - it's super stressful! A lot of this is pulled from my own experience:

The biggest thing I usually recommend is figure out what studio you want to work at and setting that as your goal, which will help to inform your portfolio work. Once you know where you want to end up it's much easier to tailor the kind of work you should be showcasing in your portfolio based on who you expect to be reading it.

When I was first building my portfolio I started wide and it just didn't work. I had CRPG mods, mobile arcade games, prototypes, narrative games, platformers, and everything else. I enjoyed making everything (and considered myself more of a general developer than an LD), and while I managed to get a co-op position at an excellent local indie studio, my portfolio was just too busy and a lot of people said my skillset seemed too broad.

Eventually I drew a line and made my goal Ubisoft, since they were a big developer who was also local to me. This made it way easier to know what to build: I designed some levels in Far Cry and focused my portfolio on showcasing them (which coincidentally the local Ubisoft branch was in the process of developing). It definitely wasn't the only thing that got me the work, but it made it way easier to design my portfolio knowing that I specifically wanted people from Ubisoft or a AAA to look at it, as opposed to a local indie studio who would have different ideas of what an ideal candidate would be. Instead I specifically made a portfolio that a AAA recruiter would look at and say "oh this person's work looks perfect for what we're doing".

It doesn't make it less stressful knowing you're potentially cutting out an avenue of interest from some recruiters from your portfolio, and it's a hard choice to make on what you want to focus on, but it's much more realistic than building a portfolio that tries to appeal to everyone. Like you said, it's hard to know how to focus a portoflio when taking a wide approach, and it's also something that will be a knock against you to potential hiring managers since it could represent you as someone who has an unfocused skillset or doesn't know what they want. So a portfolio that's too wide can mean you're shooting yourself in the foot to some degree.

This also doesn't mean "only plan to apply to one studio". Odds are good that if you make a portfolio that say, leans heavily into something like AAA 3rd person adventure level design work, it will still likely appeal broadly to many AAA studios working on similar projects. In that case, genre is more important than studios specifically. You still have many avenues to apply to, you just need to decide which types of studios you want to focus on applying to most, and which ones you're okay with potentially being less interested.

Also I think this is super worth mentioning:

I think one of the more frequent complaints I heard from peers in college was "I wish I didn't leave making my portfolio so late".

In my program we had a co-op class in our 3rd year which involved sending out applications and (since I have really bad anxiety around finances) I was determined to land a position that paid, so I started making a portfolio at the end of my 1st year. By the time I graduated I think it's safe to say that I had entirely re-designed my portfolio from the ground up maybe 4-5 times, and probably spent several hours every week modifying, adding and removing things from it. It's a constant, ongoing process and a big pain in the butt, but completely worthwhile.

No portfolio is perfect but getting it to a point where it's actually representative of your work, usable from a UX perspective for recruiters, and makes you seem like someone who has their stuff in order is really really time consuming. Portfolios can take a LOT of work and it's a time sink I think most people frankly don't see coming.

Not trying to put the Fear of God in you or anything, but the more time you give yourself to really start that process of chipping away at it the stronger it's going to be (and the less stressed you'll be about it on the whole!). You'll be thanking yourself the sooner you start it! :)

Anyway yeah, focus on establishing your goal and a studio to target and build from there, and give yourself as much time to work on it as you can.

Good luck!