#Best game design and development solutions

[elevancotech]

Elevanco provides affordable UI/UX design services for startups, helping create intuitive and visually appealing digital products on a budget. Our expert team focuses on improving user engagement, increasing conversions, and building brand trust. Whether it's a website or mobile app, we offer scalable, cost-effective solutions tailored to your startup's needs. Contact us at +91-7388885426 today!

[simulanissolutions]

India's virtual reality (VR) landscape is rapidly evolving, with numerous companies leading the charge in innovative solutions and immersive experiences. Here’s a look at the top 10 VR companies making waves in the industry.

[thixpro-technologies1]

Best Mobile game App Development Company in Noida

Are you ready to level up your mobile game app? Our Best Mobile Game App Development Company in Noida has got you covered. With cutting-edge technology and a team of expert developers, we create immersive gaming experiences that keep players hooked. From stunning graphics to smooth gameplay, Slot Game Development Company in Noida. we've got what it takes to bring your game to life. Get ready to dominate the app stores with our top-notch mobile game development services. Unity Game Development Company in Noida. Click our website link:https://thixpro.com/

[emblemxeno]

Hot Take Time!

I think the breakthrough revelation that the Sonic fanbase had about the series' reception during the 2010's, where full-force sincerity in its stories was mocked for being cringe and willingness to stand out in both a gameplay and artistic sense resulted in beloved games being panned retroactively, can be easily applied to FE Engage.

Engage is the most fucking sincere plot the series has had in over a decade. Yes, despite being the guy whose fav FE game is Fates, I think that game was still bogged down by the prospect of following up the blowout success of a game like Awakening and had too many instances of putting in a lot of ideas to see what worked rather than putting the full weight behind a select few core elements.

SoV had the baggage of being a remake while still needing a modern appeal, and ended up with a lot of contradictory aspects. And 3H doesn't know what it wants to be and never did from the ground up.

Engage is different. It wanted to be a grand celebration of 30 years of this great series. It wanted pizazz. It wanted spectacle. It wanted to say "we fucking love this series and we love the fans who supported us."

The characters are flashy and striking to make you remember them. The music is bombastic, with a wide variety of styles so anyone can find a favorite track. The presentation is beautiful, with great visuals and phenomenal sound design. New uber powerful mechanics balanced out by incredible map design, supberb flow, and responsive game feel.

But the sincerity shines brightest with its narrative. The core messages are well written!

Sometimes knowing when to retreat is better than foolhardy bravery. It's always worth considering someone's background and feelings before casting them away. There's never a single easy solution to your problems, and if you think there is, you'll end up repeating the same mistakes. You can find family with anyone, and are not bound solely by those who you're born to. To live authentically as yourself is beautiful and should be celebrated.

The game believes all of those things to a degree which really hasn't been seen since the series was on the brink of death.

But that sincerity was treated as unpalatable, cringe, and plain awful.

The fandom for a series that routinely and infamously has terrible armor designs now suddenly throws a fit because "flower girl has silly dress" or "these characters have face paint/tattoos."

The single laziest form of criticism for FE casts that has permeated the community since Awakening released, that being "the cast is one note tropes that have no personality or development outside of them", came back in full fucking force with Engage.

And it's pretty damn sad. In my opinion, sincerity shouldn't be mocked. Sometimes, you should take a minute and ask yourself "Is it bad, or is it just not my thing? Am I writing off an entire cast's writing because I don't like some character designs? Do I have personal preferences that aren't being met in this instance, and should I learn to grapple with saying that instead of just writing off the product as fundamentally terrible or, at best, half-assed?"

At some point, looking inward and considering community wide commonalities has to be recognized as a factor for why products are received the way they are, rather than just laying blame at the devs' feet for "not making a good product that people wanted." After all, word of mouth is the reason why FE even got this far, considering FE1 was effectively a sleeper hit because people who played it spread the word despite mixed reviews.

TL-DR, Engage isn't cringe, YOU ARE!!!

[ganondoodle]

totk is like a highly polished alpha build of a game to me

graphic- fantastic, i just love botws style of graphics, its the perfect blend of something more realistic but very stylized and timeless

visual design- great, i cant stand anything sonau (zonai), and ganondorfs concept art is better than final (and still involves lots of annyoing stereotypes) but overall still pretty solid

sound design- phenomenal, it really is, the underground, the rain on the parasail? unmatched, already loved botw but they really outdid themselves here

music- possibly best in the series to me, like ... theres so many fantastic tracks, in isolation i love so many of them so much ... which sucks bc being connected to such a lackluster rest sours them badly

mechanics- working but undercooked/unfit for the world, its impressive they got ultrahand working at all, but its still clunky/quickly frustrating and badly balanced also contributes to utterly destroying botws world design- this ability was simply not made for this world and is in the end both detrimental to it and itself, bc that mechanic could have truly shined in a game REALLY build around it (... if they could manage to balance it well and stop handing you the solution, it would be funyn if it werent so sad how many times the game literally doesnt even make you engage with its main gimmick bc it just hands you the prebuild thing) time reversal breaks every puzzle/challenge, also unbalanced, ceiling jump is the most harmless but i still think it lets you skip too much

writing- worst in the series, where would i even start with that, not a single character is written well/interestingly, most detrimentally the main characters, .. like all of them, zelda, ganondorf, rauru... and the "story", its barely even bare bones, its plain cardboard with an old divine right propaganda slogan written on, continuity in a direct sequel is non existant, there is no follow up on anything, why did they call it that when they dont seem to have any love for anything botw did given how much they trample over everything it established, i struggle to believe they actually thought this was good, theres has to have been trouble during development

world design/changes- a joke, ... i dont know how people dont feel scammed by how little was actually changed, no, a few rocks sprinkled througout are not meaningful changes, i was one of the people not worried about them reusing the world bc i loved this world and was sure theyd meaningfully change it- god how wrong i was; the sky and underground are both like the bare bones with textures and placeholder rewards/points of interest, they both do not matter at all and their potential is yet again utterly, painfully, wasted and only add more points of destruction to the map in case of the sky, and both add confusion about everything, not the good kind of intriguing confusion, the bad nothing makes sense confusion it really does seem like they put some quick changes into every main point of interest where most players would go to make them think they changed things when .. they only changed these parts, barely, either bc they knew everyone would skip around the world anyway so it wouldnt be worth it, or bc its ... unfinished

game design/structure- baffling (bad), connected to the point above, but it truly is beyond me why they repeated the exact same structure as botw while removing what made that work, why would you repeat every point of interest of the previous game, i know zelda games always have their regions and thats where stuff happens, but they REUSED THE SAME WORLD, you CANNOT repeat the exact same points in the same world, you just cant, its the same places, the same characters, the same structure (aka dungeons being less interesting/easier titans (divine beasts) with a paint job in structure), you basically erase the well integrated ancient tech civilization to replace it with another, not well integrated, more boring and overly pushed into your face, ancient tech civilization and make them the answer to everything that ever was (BORING), the same story structure (but worse, like the memory system but remove what made it work in botw)- AND THEN repeat the same points in the underground too? thats bonkers, literally baby bananas

dungeons/puzzles - worse than botw by FAR, as mentioned above, dungeons are less interesting titans with a paintjob (plus an extraordinarily awful cutscene, which is repeated like FIVE TIMES almost word for word), they serve no purpose but to act like they are totally real traditional dungeons when they are not, they are laughing at you, shrines are back with a paintjob with less interesting puzzles (if they even have one given how many just give you a spirit orb knock off) that can all be skipped, though the puzzles can often not even be called that (put log over gap WOOOAH puzzle) among many awful and unecessary tutorial ones (its not bad to have easy ones, but aside from the few ones that take all your stuff away -omg restrictions in MY freedom tm game??- which are the best ones, to have none be even a little challenging or not utterly skippable without even using glitches, its like they didnt even try to stop you from cheating, which is like being given a skip button with no strigns attached, doesnt even let you feel smart bc you dont have to try to cheat)

UI/controls- awful, you cant tell me this was tested by real people playing for longer than 10 minutes at once, how did the ghosty sage control scheme and arrow/weapon fusing get through this, HOW, its unbelievably tedious and detrimental to any fun (as im doing with my rewrite, a crafting system would have been so good here ..... like a proper simple crafting system, have the materials, craft your new arrow types in stacks etc) the ghost sages are not only utterly useless in combat, but clog your screen, play distracting animations as soon as you look at a slope, you constantly accidentally activate them or the wrong one bc its mapped to the main interact button!!! if you use them say goodbye to your framerate, fights are now spent chasing after some ghost guy whos actively running away from you, they do not invoke a feeling of 'connection' to my 'friends', they are invoking feelings of hatred and frustration

performance- ... passable (if you dont have the sages out .... well, it runs better than pokemon scarlet so i guess its fine, the lag when closing and opening the menu is rly annoying, especially combined with the finger and patience breaking menues and how often you need to open a game pasuing menue, but fights with a monster horde AND the sages out? yeah no its as bad as pokemon scarlet at its worst, not to mention the chaos of having five useless ghost scramble around you getting knocked around by enemies)

price- a scam, this game is not worth 70 bucks, its just not, if you get a used copy and dont spend more time in it than it takes for you to just go straight to the main points, or if you dont care about anything else but dicking around with a clunky building system ... then you can have some fun with it yeah ..... still not worth 70 money, theres probably better building games out there for less too

it jsut feels not done, not finished, its presentation and some parts are highly polished and their marketing for it is unlike anything i have ever seen, but its so .... unfinished, no amount of epic visuals is gonna let me not think of this game being half done at best, after what, 6 years of development no less? with most assets already being there and being reused unaltered??

(i am holding tightly onto the theory of it either having an extremely troubled development that is being hidden bc of their reputation, or some sort of neglect in order to focus on other more lucrative projects, this is just all too weird to me)

[torchship-rpg]

Dev Diary 17 - Complex Dice Tests

We lied! Today was going to be about the meta-campaign mechanics, but we did a really cool system overhaul instead and we simply have to tell you about it.

Basically, we overhauled a part of our dice system in a pretty major way. It’s involved some fairly dramatic changes to how rolls are done, though all the other systems we’ve created plug pretty seamlessly into it (and as we’ve integrated it, it’s actually let us effectively cut systems now that they’re covered automatically by the new system). It’s one of the deftest bits of game design we’ve ever done and we gotta brag about it.

Development of the Previous System

One of the things that has been a problem for Torchship for a long while is that it wanted to be a dice pool system (roll X dice, looking for Y amount of Z+ results), which doesn’t just have binary pass-failure outcomes. We wanted players to feel competent in their fields, but we also needed there to be interesting difficulties and complications so that stories aren’t just a stateful progression of experts effortlessly performing the tasks they’re experts in.

This is surprisingly difficult!

Nailing down exactly how it would work has gone through about a half-a-dozen iterations, all of which always felt like hacky temporary solutions. The version we came up with before this, which the game has been using for about a year, involved two thresholds on each roll; a “Difficulty” to do the thing, and a “Complexity” tacked onto it that you had to reach to do it without any extra problems.

This served the purpose, but its various incarnations slowed the game down a lot more than it should have, and put too much stress on the GM to work out what these two targets would be and how complications would emerge from it. It was a clunky solution which required a lot of experience to use properly, functioning just well enough to build systems around without ever being stellar on its own.

It Must be Tuesday

While working on Must be Tuesday: Revived Edition, which uses a similar dice pool system, my wonderful editor Lexie came up with a really clever system while we were working out the dice odds. In that game, you have a “Skill” target from 6+ to 3+ with a variable dice pool and a number of Successes needed. 

Our partial successes there comes from a concept of ‘Scrapes’; dice which are 4+, but don’t meet your Skill target. If you reach the number of Successes you need when you add your Scrapes to your rolls meeting your Skill, you get a partial success! Brilliant, isn’t it? That means everyone has a chance to get by on even hard checks using their worst skills, but it’s never easy.

When we poked at Torchship stuff after testing that system out, we found ourselves wondering if something similar wouldn’t fit here as well. It wouldn’t translate 1-1; Must be Tuesday is about teenagers fighting monsters in a horror/comedy setup, where nobody is doing anything really complicated, and even the people who are the best at things are still only as good at it as, you know, teenagers. It’s not a good tone fit, but it inspired the system we used.

Complexity Certs & Complications

The solution we came up with, which we are so proud of we bumped a whole dev diary for it, is the idea of Complexity Certs.

Basically, we’ve ditched the previous Complexity target from before. Your dice Test just has a single, easily determined Difficulty. In ideal circumstances, you roll a number of dice determined by the tool you’re using, needing to get results over your Cert target. Get as many of those as the Difficulty, you succeed, otherwise you fail. Simple binary outcome to a simple problem.

But you’re playing cosmonauts. You know, you boldly go places you probably shouldn’t. You don’t face simple problems.

When the GM calls for a roll, they can tack on Complexity Certs in accordance to the situation you’re facing. Essentially, they’re saying this roll is a test not just of the ‘Primary Cert’ that determines if you pass or fail, but it’s also a test of some extra skills that have come up because of the number of moving parts involved in the situation.

So while you still only have one Difficulty, you need to meet that difficulty using multiple dice targets to succeed without qualifiers. If you just meet the difficulty on your Primary Cert, but not the Complexity Certs, then the GM can hit you with a Complication that can emerge naturally from the Cert in question. Conversely, you could end up in a situation where you have a better value on your Complexity Cert than the primary, so you could fail, but avert other disasters.

Or you could fail at both, and now you have two problems!

This system elegantly compresses a bunch of things the system needed to do into one quick judgement call by the GM in the moment. We don’t need to have specific penalties for working remotely through a robot, working in a spacesuit, or doing things in low gravity; the GM can just add the Drone Operator, EVA, or Cosmonaut Certs to the Test as Complexity Certs. There’s no limit to the number of Complexity Certs that can get added either, so you can sum up really complex situations with a single roll.

It also made the game’s group test mechanics much simpler and more impactful. Helping can be a complex game design challenge; you want people to be able to give each other a hand, but you need to make sure people can’t simply do it on every single roll to avoid slowdown and the trivialization of gameplay challenges. The way Help works now is allowing you to lend a friend one of your Certs to take on a Complexity Cert, basically monitoring a potential problem for them while they focus on the main task. 

As you get XP for Helping or being Helped on Checks where somebody is rolling with a higher Cert than you, you might want to point out potential problems with people’s plans that relate to your expertise as they come up so you can be the one to solve them. It also means that the presence of a Complexity Cert acts as a prompt for characters to step in and help one another out, and rewards a properly multi-disciplinary crew working together to tackle complex problems. 

You know. Like… like a Star Trek.

Examples

The example we use in the game rules is as follows.

Let’s say you are at a shooting range with your laser pistol, and you want to shoot a target. That’s a straightforward Sharpshooter Cert test. You either hit the target or you don’t. Easy!

But let’s say you’re doing the same thing but in a combat situation where you might get hit in return. The GM can (and is encouraged to) add the Soldier Cert as a Complexity Cert to the roll; Soldier is the Cert that covers tactics, movements, and the use of cover, so if your dice meet the difficulty using your Sharpshooter target, but don’t from your Soldier target, then you probably hit the target but exposed yourself to danger in the process.

Suddenly, we can see the difference between an Olympic target shooter and an infantryman.

Or let’s say you’re a guard posted in a reactor room; if you are doing some shooting there, the GM could throw in Damage Controller as a Complexity Cert to represent the chances of you breaking something vital in the antimatter reactor by throwing lasers everywhere. Suddenly, you have a really good reason to cross-train your guards in engineering skills, at least enough that they know not to shoot the matter/antimatter exchangers.

Or maybe you’re trying to incapacitate an unfamiliar alien creature without killing it; the GM could add Life Scientist. What if you’re doing it in a spacesuit? Add EVA. Knocking out a piece of machinery? Add Technician. Aiming a remote turret instead of doing it yourself? Drone Operator.

Which means you could, conceivably, be in a spacesuit operating a tablet controlling a gun drone non-lethally shooting a strange device on a strange alien in a combat situation inside an engine room… and it all happens with one roll and no need for infinitely stacking penalties.

Knock-On Changes

The biggest knock-on change this has caused is a need for finer gradation between Certs so that the differences come up more often and are less severe. For that reason, we moved the game to d10 pools from d6s; yes, this was an enormously annoying change to make through our draft, and we’re still working out how to rebalance advancement through it. It also means we have to do yet another pass through the Traits, which we were midway through… oh well! 

(We have a cool new lever that’s come out of, actually; we can have Traits just make Complexity Certs just not count in appropriate circumstances. Freefaller characters get to ignore 0g penalties, for example, which includes adding Cosmonaut as a Complexity Cert to a lot of rolls). 

I’ve submitted Torchship to Metatopia again this year, and I’m really looking forward to running it on the other side of a year of rewrites and de-heartbreakerification. I’m confident it’ll go much better this time around. 

Anyway, next Dev Diary will be about the Zinovians, and then we’ll do the meta-campaign mechanics. Unless something even cooler comes up.

[infinitebrians]

Favorite Games of 2023 Part 4: Pseudoregalia

I knew Pseudoregalia was going to be good the minute I started the game and did the input for the Mario 64 side flip jump and the game’s main character Sybil did her own version of that satisfying jump. One of my all time favorite things to do in a Mario game (or any game) is that side flip, a jump that is as practical as it is just simply satisfying to do. Sybil being able to do that jump without needing any of the power ups found in the game told me that the developers of this game knew the importance to making character feel good jumping around in a 3D world. Her movement only gets better from there with a bunch of new platforming abilities that makes her capable of getting what feels like anywhere in that game world if desired. The pure control you have over Sybil's platforming capabilities gave me so many great moments of pure curiosity to experiment with what could work. What's better is watching friends and others play the game and figure out their own solutions to the game's open ended platforming design. There are no wrong answers in the world of Pseudoregalia, just results.

This game was a complete surprise in just about every way, just the best feeling platformer I’ve played in a long while in this small, cleaned up former game jam game. I’ve followed the main dev rittzler on twitter for a few years because the gameplay clips of their work have all looked fun and impressive and they always shared other really cool indie dev work as well. So, I was excited to finally play Pseudoregalia when it was announced to be released. It's super low price (6 dollars USD) and being something I was able to finish in the span of one day alone was a huge breath of fresh air in this current gaming environment. It’s something I’ve been personally thinking a lot about recently is the appeal of a simpler, lower priced game. It’s appeal to me coming from playing something that never needs to be some sort of omnipresent, super game. Instead, Pseudoregalia presents itself in a humble statement of, ‘here, enjoy a few hours jumping around this wacky maze like castle as a goat bunny lady!’.

I'm not a person who typically ever has a desire to replay a game right after finishing it, I usually prefer to immediately move on to another game that I've been wishing to play for for a while. Pseudoregalia is a game I've played four or so times now from start to finish, I even started another playthrough in preparation for this drawing/writing and found myself wanting to play it all the way through again. Its the first time I found myself actually physically seeing the appeal of speedrunning, a hobby I always just enjoyed as a spectator. Pseudoregalia just lends itself so neatly to that part of me that loves routing out a path for stuff. How quickly can you find all the vital movement abilities for Sybil? What's unnecessary, what can be improved, what can be gathered while on the path of gathering something else. From at least my perspective of not actually investigating the proper speedrunner's routing, the options feel immense. From these handful of times replaying the game I've gotten a good handle of finding my way around the map and a good idea of how to get a lot of the really important movement abilities almost immediately. It also made the game feel quite different from how it felt to me with my first playthrough, what was once mysterious and labyrinthine was now a familiar playground.

That is one thing I will miss when doing those repeat playthroughs is that sense of discovery that occurred with that initial run. Soon before Pseudoregalia came out, I watched a lot of Videochess and spaghoner's exploration and documentation of the incredible Mario 64 hack, B3313 ( https://youtu.be/pLKB0SG0i8c ). I found that hack incredible at creating a sense of uneasiness and wonder from simply keeping you constantly guessing what was next behind each door something even those two expressed while streaming. During my first playthrough of Pseudoregalia, I was completely lost in that castle and was constantly finding paths that led to new zones or ones circled me back to old ones from hours ago. It was a pretty incredible feeling of discovery that only wore out it's welcome at the end when I just needed one more big key necessary for progression. What helped make exploration in both of these games engaging the whole time is that aspect of having a really fun character to move around as while being lost. It was okay with being completely lost because I could still just keep doing these long jumps into wall kicks that just make Sybil go fuckin' fast in an immensely satisfying way.

I think in the time it's taken me to think about this game again, and briefly revisit it in preparation for this art/writing I've come to decide that this is probably my favorite new game of 2023. In a year full of fantastic platformers to pick from, this one was just a class above in terms of movement design and movement application.

[angrycheesegirl]

Poll for Fallout fans

More Info below the cut!

Power Armor is one of the defining elements of the Fallout franchise, being as old as the series itself. Through over 25 years of development, two different owners, three development studios, and a certain Howard, Fallout has seen much evolution since its inception. Power Armor is no different, having had many, MANY iterations over the years. There are many varieties and variations, and if I tried to include every variant in this poll, there simply wouldn't be enough room. So to keep things simple, I've condensed this list to the power armor designs that appear in multiple entries of the franchise, those being:

T-45D

First introduced in Fallout 3, Bethesda's take on Pre-War Power Armor is one that has resonated with many fans, appearing in every Fallout game since. T-45 is the most common Power Armor in most Fallout games, and is most commonly used by the Brotherhood of Steel.

T-51B

T-51 Power Armor is as old as Fallout itself, first appearing in Fallout: A Post-Nuclear Roleplaying Game as simply "Power Armor" and only acquiring its iconic "51" in Fallout 3. The pinnacle of Pre-War Power Armor, T-51 is absolutely iconic, being used by the Brotherhood of Steel since its inception in 1997.

T-60C

A modified version of the T-45, T-60 power armor was the Poster Child of Fallout 4. Used by Arthur Maxson's Brotherhood, T-60 is weaker than T-51 (Lore-Wise) but is easy to convert from T-45, making it more viable as a long-term solution. T-60 is best-known for being the suit worn by Paladin Danse, but has carved a niche for itself within the fandom.

X-01

X-01, perhaps better known as the Advanced Power Armor Mk II, is the model of Power Armor developed by the Enclave for use in a Post-Nuclear world. First appearing in Fallout 2, X-01 is a Fan-Favorite design among fans for its unique presence. The X-01 is the best Power Armor model currently available, and with the eradication of the Enclave it will likely stay that way.

Please reblog this if you got to the end, ok? I'm a simple girl, I just want an honest poll. I put a lot of effort into that recap, so please do me the favor of spreading this around, ok?

[derxwnakapsyla]

Hello there! My name is Derxwna Kapsyla, and you might know me as the mastermind behind projects such as "Yitria Resurrection", "Touhouon Asteria", "Touhou Pupet Play ~ The Adventures of Ayaka", "Chronicles of the Omniverse"- Wait, you don't know that last one? Never mind it then! Today I'm here to talk about something I am extremely passionate about- map design!

It is easily my favorite aspect of game development, and I feel like I'm pretty proficient at it. So, I would like to open up map making commissions to help people out on their own projects! I've got well over 10 years of experience, getting my start back in the ancient days of Binary ROM Hacking with Advance Map being the hottest tool on the block. I like to make sure the maps I make are of the highest standards I can possibly muster, so I have a fairly sharp eye for detail.

I also love communicating ideas with people and helping them reach a desired solution (If I'm able to)! If you're interested in taking a shot on me, I welcome you to message me on here, or DM me on Discord! I look forward to getting a chance to work with you! I promise, I don't bite- I'd much rather use an Ion Cannon. Also I just lost my job recently so I could really use some supplementary income while I try and find a new job...

Things to know about Derxwna:

I've been working with game development as a hobbyist for over 10 years, with an exceptional passion for map design.

I like to make sure that anything I make is the best quality I can possibly produce.

I do have a degree (of sorts) in Game Design, Programming, and Animation.

Spent a good majority of my time playing Wind Waker just trying to compare terrain to Ocarina of Time.

You will not find a person more offended by the tile errors in vanilla Pokemon games, I guarantee it.

What I am offering:

Map design for 2D environment based games.

Map critique and feedback. (This is free!)

Eventing on a small scale.

Redesigning your own maps.

What I am not offering:

A whole game made from scratch (Unless you're paying massive $Revenue).

Complex scripting maneuvers.

Unique tilesets. If you have a unique tileset you want me to use, send it- but I will check if you are allowed to use it.

Trainer battles.

Advice on how to spend your FSA. I answer those questions enough at my previous workplace.

Examples of my work:

-- Touhoumon Asteria -- https://imgur.com/a/hsAjnuk

-- Yitria Resurrection -- https://imgur.com/a/fveRkMc

-- Adventures of Ayaka -- https://imgur.com/a/tYAV8u7

-- Other Map Creations -- https://imgur.com/a/ZzqvrdV

Prices

-- Map Size --

Small map (30x30 or smaller): $10

Medium map (60x60 or smaller): $35

Large Map (100x100 or smaller): $60

Extra Large Map (100x100 or greater): $90

I am willing to take on a multi-map endeavor. Prices will be discounted for bulk purchases. I am also willing to very slightly haggle on the tiers above Small Map, but prices will not go below $10 above the previously listed tier.

-- Eventing --

Depending on event complexity and quantity, additional fees may be incurred.

-- Additional Pricing --

Gen 4 or 5 theme: +$40. I am not comfortable mapping in this style. I can attempt it, but only if you provide a tileset of the exact tiles you want.

When it comes to payments, I am flexible with how I receive them. I understand that people are not comfortable giving an entire lump sum for commissions. If you'd like, we can work out a payment plan of sorts, or you can pay a portion up front and pay the rest upon completion. If I do not or am unable to finish the map, I will refund the amount paid up front. As a note, if you are looking for a rush order, an additional fees may be incurred.

Contact Information

The best ways to reach me if you are looking for a commission, or if you have any additional questions are as follows:

The Eevee Expo Forums

Discord: DerxwnaKapsyla

Tumblr

This is where I would put my Twitter account- if it was unsuspended.

Bluesky: https://bsky.app/profile/derxwnakapsyla.bsky.social

The best times to reach me are between 12 PM and 12 AM PST (GMT-7).

[askagamedev]

Hello. Do you think having a game programming YouTube channel can be useful as a portfolio? Like recreating game mechanics from existing games or creating new ones, and explaining my thoughts and decisions through the videos. Similar to Artstation for artists, but in this case for programming.

I do like the idea of having an online portfolio where a candidate can showcase their skills, but I am not sure that a youtube channel is the ideal platform for it. I can see good gains to be had from doing so, but there are also non-trivial drawbacks. I'll explain what I mean.

First, doing personal game development projects earns top marks. There's no better way to stand out as a candidate than to have experience doing that work already and game development is no exception. Show us that you can do the job by doing similar work. Earning experience as an amateur will translate to leveling up as a professional.

Second, there's definitely a lot of benefit to practicing communication skills which you get from posting for public consumption. My own personal ability to communicate has improved significantly since I began this blog. The regular practice of posting to the blog has honed my skill at taking difficult, technical, and/or complex concepts and conveying them in an intuitive and understandable way. These are extremely helpful skills in a professional setting, especially when communicating with others who are not versed in the technical or design context.

There are also two drawbacks I see here.

The first drawback is in the choice of platform. Video production is extremely time-consuming - at the very least you will need to record the needed footage, write and record the commentary, add any needed visual bits (e.g. intro, outro, key art, transitions, etc.) and (most time-consuming of all) edit each video together. Most of these skills are not directly transferable to game development and are the primary reason I decided against going the Youtube route for myself.

The second drawback is in the public-facing nature of posting your work. If you get hired by a game company, you will become a corporate representative to the players of that company's games 24 hours a day, 7 days a week, 365 days a year. Your personal public posts will likely be read and dissected by the game's fans and used as potential ammunition against your employer. It is not abnormal for public blogs and the like to need shutting down (either temporarily or permanently) once you get hired. It may become a legal liability and that's not something you want to deal with while juggling a full-time job. I avoid this by staying anonymous but it's a double-edged sword - I must also forgo the benefit of having a public portfolio that I can show to potential employers.

That's basically the rundown. There's a lot to be gained from doing personal game dev work and posting it publicly, but you don't need to go all or nothing. There are really good skills you will develop by doing so, but you should absolutely be mindful of the major drawbacks of doing so in a public venue. I would encourage you to consider these issues and find a solution that you think will work best for you.

[Join us on Discord] and/or [Support us on Patreon]

Got a burning question you want answered?

Short questions: Ask a Game Dev on Twitter

Long questions: Ask a Game Dev on Tumblr

Frequent Questions: The FAQ

[simulanissolutions]

India's virtual reality landscape is thriving, with several companies leading the charge in innovation and immersive experiences. Here’s a list of notable VR companies, including Simulanis Solutions:

[vndev]

Free VFX & Consultation for NaNoRenO 2024 Jammers!

Hey everyone!  I hope you've had a great time participating in NaNoRenO this year!  I'm Nai from Make Visual Novels, though I imagine more of you know me either through our live team building events in DevTalk, or from the other jams and competitions I run.  I wanted to let you guys know that, for a limited time, I'm offering free consultations for jammers participating in NaNoRenO2024.  With those consultations, I'll also be creating VFX for your title screens to help you make a stronger first impression.

So you might be asking...

Why would I even want a consultation, Nai?

Something went really wrong and you want to know how to fix it .

Something went really right and you want to know how to take advantage of it.

You had an objective that you got close to, but couldn't quite hit it.

You want to go Pro with developing VNs, and you'd like guidance.

You feel lost in some part of the process, and need help setting goals for your circumstances.

You tasted VN Dev, you can't imagine a life without it, and you want tools, resources & opportunities.

Okay, but why you?

I've spent nearly a decade supporting and coaching visual novel developers reaching their personal and professional goals.

I've read over 500 indie visual novels.  I know what your peers are doing, and where they are succeeding and where they're struggling.

I run & judge for the largest sponsored visual novel development competition.  That 500 was a conservative estimate.

My network includes VN engine & game developers, game, book, comic & VN publishers, merchandise providers & manufacturers, marketing professionals, crowdfunding experts, professional programmers, illustrators, animators, graphic designers, VFX artists, 3D Artists(specifically modelling, texturing, rigging, and lighting) editors, pixel artists, Live2D capable artists, authors, narrative designers, translators, composers, musicians, singers, casting directors, voice actors (so many voice actors).And, probably most importantly, people who are living the experiences you're looking for.

In short: If I don't know the answer and/or can't come up with a solution to your very specific goals, I know someone who can.

I'm in.  Now what?

To be eligible for the free consultation and the VFX, you need to have a game submitted to the NaNoRenO 2024 jam page and follow its rules.

Having a list of questions to ask is a good idea.  Having goals is an even better one.  If you don't have goals, we can work on setting them.

For best results, you or a team representative should be present for the consultation.  These are conducted between 6:00 PM and 9:00 PM ET on Tuesdays and Thursdays.

Message me over on Discord (discord:naidriftlin) or in DevTalk(https://discord.gg/devtalk) to set up a time and day.

Some things to keep in mind: 

Don't ask me to roast your game/be brutal.  I don't do that.  I can provide critique with suggestions and examples.

These consultations will be conducted live on https://twitch.tv/makevisualnovels.  My viewers are typically your peers and VN industry folks, and usually not exceeding 10 concurrent viewers.  A VOD recording will be provided to you to download for 30 days afterwards.

The free VFX for your title screen is eligible for those who complete the consultations.  It will be tailored to your existing title screen visuals and delivered afterwards.  I may opt to stream and record the process of making them.

[suzuran777]

BLVN review: Paradise (PIL/SLASH)

Paradise is an 18+ BL visual novel developed by PIL/SLASH, who some might recognize for previous titles such as Shingakkou -noli me tangere-. The scenario writer is Kyuuyouzawa Lychee, who has previously worked on CAGE OPEN and CAGE CLOSE. The Japanese version of Paradise was originally released in 2017, but this month it's also getting an English release by JAST BLUE, which you can pre-order here! As usual the review will be mostly spoiler-free so I definitely recommend to buy the game yourself too!

Story Protagonist Azuma works at a local convenience store and his life is anything but eventful. He barely earns enough to pay his bills and also has no real ambitions. To his surprise, he suddenly receives a lottery ticket and wins a 6-day trip to Togajima Island. Hoping he would meet some cute girls during his trip, he's disappointed to find out the only other participants are also men. Soon Azuma realizes that this was not the luxurious trip he was hoping for...

Main characters

Azuma The protagonist of the game. His life is rather tedious and he doesn't really have any ambitions or dreams for the future, so he works at a convenience store and earns just enough money to survive. Voiced by Irakusa Netoru who's known for voicing Seiji in Room No.9 and of course Eiden in NU: carnival.

Mitsugi Architectural designer. Although he looks like the lone wolf type, he's a person with a lot of common sense. Despite that though, he gets angry surprisingly fast. Voiced by Ichijou Hikaru.

Matsuda Salesman. A responsible person who's good at taking care of others. If there's conflict, he takes a step back to analyze the situation and to choose the most logical solution. Looks older than he really is (he's 27). Voiced by Tetrapot Noboru.

Takara University student. He's very friendly and innocent looking. He's often teased by those around him because of his exaggerated reactions. Voiced by Yumachi Kakeru.

Hongo Tour guide. He's soft spoken and tries his best to be polite to everyone. Has a strong sense of responsibility. Voiced by Shinomori Hibiki.

Shimada Freelance photographer who joined the tour to take photos. Always carries his camera with him to take pictures whenever he feels like it. Voiced by Kishiri Tooru.

General info This game has three main routes (Mitsugi, Matsuda and Takara) but Hongo and Shimada do have their own endings as well and appear quite often in every route. There are also four other characters on the island (Kido, Uchimura and two unnamed guys). I actually wasn't sure if there was a recommended route order for this game, but I'd personally recommend Mitsugi > Matsuda > Takara. Though you can start with Matsuda's route too I don't think it affects the story much. I used a guide to get all the endings which you can find here, but you can also enable "easy mode" in the game which kind of guides you to the route you want to play. Usually, the bad ends were pretty easy to get too.

Just like some of PIL/SLASH's other games, this game does have horror themes and some of the CGs are a bit graphic, so be aware of that! If you're familiar with their other games I think you'll be fine, but I figured I'd give some kind of warning.

Let's start with a short summary of the common route! Azuma's dreams of travelling to a luxurious resort are already crushed when he's about to board the ship and realizes the island is uninhabited. Furthermore, he also learns that they will be staying in wooden cabins and have to cook their own food. Nevertheless, he tries to make the best out of the situation and actually ends up enjoying the first day together with his new friends. This positive mood doesn't last long however, as the ship that was supposed to deliver them fresh food every day stops showing up. Not only that, but they also lose communication with the outside world, as Hongo, who's the tour guide, is not able to contact anyone on the mainland.

At first the group tries to stay calm, hopeful that help might arrive soon. Aware that food shortages will be one of the first problems they will run into, they split up into different groups to look for ways to find food on the island. This proves to be quite difficult, as Matsuda comments that the currents around the island are unusual and the fish don't seem to be biting. The others don't have much luck either, as there aren't many edible plants or mushrooms on the island.

While exploring the island, they discover an abandoned village which most likely been abandoned since the Meiji period. Weirdly enough it doesn't seem like the former inhabitants took their belongings with them, almost as if they had to suddenly leave in a hurry. Another strange thing the group notices is that the storehouse has a jail cell in the basement, as if people had been imprisoned there in the past. Mitsugi mentions that this is not unusual for houses that were built during this time period, but it does make you wonder why people would need this on an island, and Azuma thinks the same.

Moving on to each route, I played Mitsugi's route first because I liked his character design. He's an architectural designer who came to the island for some work-related reasons, and at first he has no interest in talking to Azuma. This pisses Azuma off so he immediately tries to start a fight with Mitsugi. This kind of continues for at least a few days, but it was really funny to see their interactions. I was curious to see how their relationship would develop in this route. I think his route is a good one to start with because it doesn't really explain the full story about what's going on in the island, but I think it gives the player some interesting hints about what might happen in the other routes. I also recommend playing the bad ends, as you can also get Hongou's ending in Mitsugi's route.

The next route I played was Matsuda, who works as an salesman/office worker and traveled to the island for a well-deserved vacation. I wasn't sure what to think of him at first because he just seemed like a nice guy who liked fishing, so some parts of his route surprised me a little...! You can also get Shimada's ending in this route.

After finishing the first two routes, I played Takara's route. He's a student who similar to Azuma, also won the ticket for this trip. I think this route is locked (?) and for the right reasons because if you play it first it will spoil the entire game. In this route you finally learn more about the island. I can't really say more because it would spoil the ending, but definitely play the game until the very end so you can find out yourself!

Final impressions First of all, one thing I really liked is how the game really has no boring moments. I think my favorite character is still Mitsugi, but Azuma is such a funny protagonist and I always think it's fun how PIL/SLASH combines elements like horror and humor. I think I said something similar when I reviewed Dystopia no Ou, but these games always have such fun characters. I also liked the illustrations drawn by Kotomi Youji, the CGs are really nice and detailed.

Now I wouldn't say it's the most serious game ever, but honestly I think it doesn't need to be. This is one of these games in which I enjoyed the interactions between the characters the most. If you're a fan of BL games with dark themes I think it's definitely worth it to give this one a try! As usual, PIL/SLASH made sure to add some pretty dark and disturbing bad ends to this game, so I definitely recommend playing those too if you're into that. The dark themes are however also present in the routes that lead to the good endings, so if you're not comfortable with noncon scenes for example, this game might not be for you.

I played the trial version of the Japanese version years ago, but I had a good time playing the game in English this time and finishing all of the endings. Other than some minor typos and the game showing me hints when I wasn't using easy mode (I'm not sure if this also happens in the Japanese version) the English version was enjoyable to play. The game is also only 20 USD which is quite a good deal, since the Japanese versions tend to be more expensive.

Lastly, if you're looking for more content after finishing the game, Paradise actually also has two sequels, -MUSUBI- which is basically a fandisc that continues the story, and -KIWAME-, which is more of a re-telling of the first game's story. Apparently Takara's brother shows up in these games as a new character. Right now they are only available in Japanese though, so be aware of that!

[cynautica]

One thing that kills me about Alyou is that for their relationship to develop you kind of have to address and utilize the isolation that goes unsaid in the game.

Like, we know Robin isn’t some social outcast. She enjoyed her work and was pretty outgoing. The only live interaction we get to see with another human is with Hal where he says she’ll be missed. She quite literally abandons everything to investigate Sam’s death on a harsh alien planet on the far reaches of the galaxy. She chooses to make herself an outcast. Anyone close to her that hears that is counting the days before she’s assumed dead and missing.

Al-an on the other hand is actively seeking his own people. The entire game is him looking for the other precursors, a goal we can only assume extends well beyond the game. Of which for Robin we can only assume two outcomes: they find the architects within her lifespan or they don’t.

If they do find the architects, how does their relationship fair? Does Robin get sent back to human civilization a hero to architects but a nobody to her own people? There’s no guarantee if she wrote about the precursors anyone would even believe her. Or, doing so makes her and the architects a target for Alterra. There’s no guarantee she’d ever be able to find a job she loved ever again, or, best case scenario her writings about the species make her famous. What then? Sure she might have money and fame, but she’ll no doubt never be able to talk to Al-an again with loads of questions still unanswered.

But what if Robin brings Al-an with her back to the human world? She doesn’t seem to have a lot of faith in humans not acting terrible, trying everything from putting him in a cage to keeping him as a trophy. He might get a kick out of being a science subject at first, but we know he’s not quick to make friends. Maybe he shares some advancements with the humans? If he trusts them that is.

The same goes in reverse in what if Robin stays for some time with architect society? They’d no doubt want to learn everything they could about humans resources willing. However it took Al-an a whole game to understand the nuances of human socialization before they even let him near one. I can’t imagine Robin being comfortable in a whole society full of very tall, very advanced, and very nosey aliens. Best case scenario Al-an shares his etiquette and respect with the other architects or they mostly ignore her. Even with this outcome Robin is still in a world not built for her in mind. She can still make friends with the architects, but they’d no doubt feel clinically asocial.

Then of course the third option, both are fully isolated. They neither find the architects and Robin chooses not to return to human civilization. They both have eachother to keep company, but they’ll always be alone. Humans are designed to seek other humans, and architects no doubt feel the same being social creatures. Sure one another might be “good enough” but there will always be that unmistakable feeling of solitude. Alone together, till one of them dies.

Then what? Does the other move on, driven purely by their desire for scientific conquest on the far reaches of the stars? Adopt a pet and live their life alone like Maida?

The closest thing to a perfect ending is that both the architects are alive and Robin chooses to return to human civilization, but both species are able to build a good working relationship. Both Al-an and Robin are regarded as heroes on both sides and still have the ability to talk every once in awhile. It would be really neat to see precursors join the supporting cast for subnautica 2, being our access port for advanced tech. But then us Rob-an shippers have to face the idea that their relationship would probably end with just friendship or both would still be ostracized for being weirdos

In any solution though there has to be some compromise. A perfect ending isn’t necessarily possible.

This is why I think Alyou should officially be classified as tragic yuri send tweet

[justforbooks]

This is a necessary book. At a time when the future of cities is being discussed worldwide, Joseph Rykwert offers us an overview of the subject from its tentative beginnings in the Middle East some 10,000 years ago to the extraordinary experience of Mexico City today, with its population of 20m and rising. Has the city been a force for good or bad? When do measures of creative chaos in the life and form of cities tip over into conditions of alienation and dystopia? And what can we do to make our cities happy and healthy places to live in when they are shaped in part by economic forces largely beyond our control?

These are important questions. But before any answers, it must be said that the title of Rykwert's beautifully written book is a bit of a lie. This celebrated architectural historian is really telling us the intriguing story of how our cities - including London, Paris, Berlin, Mexico, Canberra, Brasilia and the author's beloved New York - got to be the way they are today. Rykwert is at his best when guiding us effortlessly through the past 10,000 years of city-making and at his happiest revisiting the individual buildings he cares most about.

As to how we can best influence positive change in our cities, instead of looking for strictly 21st-century solutions he takes us back to ancient Greece where the city was perfected - or so those of us at the tail end of long generations of classically educated Romantics still like to believe. The Greeks, says Rykwert, used the word "polis" to describe both the city and a favourite dice and board game rather like backgammon that depended on the interplay of chance and rule. Chance and rule: this is how they played games and designed cities. It remains, he says, perhaps the ideal way of making humane cities 2,500 years on from the completion of the Parthenon.

The city has not been shaped, Rykwert believes, by the kind of relentless impersonal forces of which Marx wrote; instead it is a "willed artefact . . . a human construct in which many conscious and unconscious factors played their part. It appeared to have some of the interplay of the conscious and unconscious that we find in dreams". Like dreams, the form of cities is malleable, and as a happy consequence we can do something to change them for our own ends.

Cities, says Rykwert in a revealing history-is-about-chaps moment, "are the aggregate products of the choices that were made by individuals". They do not develop organically - "they are too consciously manipulated" for that - but "develop quite unnaturally by jumps, by fits and starts". This "abrupt and uneven jigsaw of conscious and unconscious workings is exactly what I have always found both fascinating and perplexing". You and me both, professor.

So when did the city go off the rails in so many people's minds and experience? What happened to the golden age of fifth-century Athens? Rykwert, an unashamed city-lover, reminds us that the city has always been under attack by critics who have seen it as a symbol of humankind's fall from grace. Here is Andrew Marvell, quoting from Genesis: "And Cain . . . builded a city; & called the name of the city, after the name of his son, Enoch" (Gen 4:17). What the poet wishes to say is that the first city was built by a murderer as a shelter for sinful humanity driven out of the garden of Eden.

Not a promising start, then. As for the Greeks, not all of them were in love with the "polis"; it was mocked by Aristophanes, while Horace, Martial and Juvenal all laid into Rome. Rykwert might have quoted Julius Caesar here, too: the great soldier and controversial republican dictator com plained loudly in letters about the noise that continued throughout the Roman night and kept him awake. As for the early Christians, their ideal city was, of course, the heavenly or New Jerusalem described in gridded detail by St John in the Apocalypse. Intriguingly, Rykwert goes on to show how idealistic Christian sects - the Shakers, for example - were to build earthly settlements and buildings along St John's divine lines. The heavenly city could, in an unsatisfactory temporal way, be recreated in outline on earth.

Earthly cities, full of people making things and money, dancing, eating, singing and making love, can never be as squeaky clean as the New Jerusalem. A healthy, happy city will always be a bit messy, abounding with energy, passion and creativity and the disorder these qualities bring in their Dionysian wake. Rykwert is not against disordered cities, but against those that have lost their soul. No ideal resolution is possible, he argues, in big cities, partly because we all have different visions of what a city might be - the Shoreditch artist's idea will be as different from the Mayfair property developer's as the child sewing dresses in a Calcutta sweatshop will be from a Hollywood starlet shopping for the latest six-figure frocks on Fifth Avenue.

There may be no solution, says Rykwert, but by learning from history we can begin to understand the rules of the city-making game. We can see what to do and what not to do; what will make us happy and what will make us sad. What seems to have made so many of us sad at one time or another is the industrial city on overdrive and the subsequent dumb attempts - postmodern architecture with all its trite, whimsical conceits, for example - to tidy it up as it moves into a post-industrial phase. Rykwert spins through the creation of the industrial city and the ills spawned in its wake. But he is never so bald as to suggest, like some latter-day Aristophanes, Martial or Marvell, that all was wrong with the industrial city. It gave Rykwert himself his favourite "polis", New York. Without Bessemer and his invention of steel smelting or Otis and the first safe passenger lift, the charismatic Manhattan skyline would never have lifted off.

What Rykwert shows to devastating effect is the degree to which architects paid little heed to the plight of the inexorably expanding 19th-century city. They toyed with the design of public buildings, compounded grand urban planning theories (some quite mad), but only rarely considered the dystopian plight of the masses somehow surviving among rows of shabby buildings not fit to be called architecture, awash with sewage and ravaged by disease. "From this filthy sewer flows gold," wrote the social observer Alexis de Tocqueville in 1835; he was describing Manchester, workshop of the world.

A linear city that would have stretched from Madrid to St Petersburg, a gallery of railways set on arches around central London, garden cities, cities of towers: all these get their turn under Rykwert's microscope. When the professor gets to the 21st-century city, however, you can see him beginning to throw up his hands. We now live in a world of theme parks, of ersatz urban experiences, cyberspace and SimCity (city making reduced to a digitised game in which money rules). We have the city as all-but-redundant tourist attraction (Venice) and the instant new cities of southern China (Shenzhen, for example) as parodies of their old western counterparts. In a "the world is too much with us/getting and spending we lay waste our powers" moment, Rykwert turns to Wordsworth for solace. Faced with such inanities, he finds comfort in these lines:

The eye - it cannot choose but see;

We cannot bid the ear be still;

Our bodies feel, wher'er they be,

Against or with our will.

In other words, as sensual, sentient beings, we react viscerally against these dystopian visions, from SimCity to Shenzhen. And, in Rykwert's case, retreat to the glorious bustle of Manhattan. Here the city, for all the attempts to denigrate or undermine it by crude planning, mean building or escapist criticism, "remains unbeaten . . . though under constant siege [New York] has maintained its astonishing and contrary vitality". The greatest game of "polis" ever played, he might have said. You may well take issue with Rykwert and question whether New York is indeed the Athens of our day; but few authors can take you on such a convincing, rigorous and enjoyable journey from the fall of Adam and Eve to an electric-aided sunset over Manhattan. Rykwert's city game is well worth playing.

Daily inspiration. Discover more photos at Just for Books…?

[b0tsbby]

Logging an update on the development of this hypothetical card game I’ve invested time into.

I’ve taken a break from mechanics (because I forgot them) to focus on the game art and aesthetic. About 10 iterations of the racer card explored and I can’t help but feel the card is gaudy, despite the rustic metal picture I had in my minds eye. I’m also opening myself to the possibility of the art style simply not being right for the look I imagined.

The racer card is important in establishing a visual hierarchy for other card types and different rankings. It must be visually striking enough to be easy to see on the board but also clear as to not bombard the player with too much visual information. Considering the trading aspect, it’s optimal to have every individual character card distinguishable by first glance in some way, while still maintaining visual cohesion.

After weeks of back and forth the cards that really stood out to me sat amongst these three.

I found the coloured background helped in the case of making a card identifiable by first glance but also acknowledge that there’s so many characters I’ll probably run into a problem that way.

I wanted to add ranking letters to the cards but found that messed up with the negative spacing on the card a bit too much, which really frustrates me because the hierarchy of cards is a mechanic I really like and adds to excitement of trading I believe. In other words I really want my A’s and S’ somewhere my brain is just heating up figuring out where and how.

Another issue I ran into was maintaining good visual hygiene. Both Atk and def stats looked pretty good to me as one accent colour, but that would make the stats easy to confuse, or at least the distinction helps for quicker gameplay and low vision players.

Another issue I found is placement of racer abilities. I forgot the very important factor that is this cards function as placeholders on the board, so putting the abilities at the back and having to turn them over constantly would be really fucking annoying, but adding them to the front would completely destroy the intended simplicity of the card. A partner card functioning like a thematic license is a solution I’m considering, with the cons being that trading cards will start to also, feel really tedious and bulked up. I mean there’s still car cards. Perhaps I’m making too many cards.

All in all I’m not happy, I still think the card is ugly, I think the art is ugly and there’s a lot of technical bumps I have to solve for. Hopefully in my frustration at art and myself I can find myself paying attention to the mechanics again, and will experiment on the card design again with another racer. The first idea is seldom the best.