![]() I still want the gameplay to take center stage which is why I alluded to not wanting to create an emotional game. What you have right now is interesting and kinda fun for a few minutes, but you won't be able to make an actual game out of it unless you are willing to make some pretty sizable changes.Ĭlick to expand.The storyboard I have for the game involves touching on chattel slavery and race relations during the old west period. As a player gets better, they might learn shortcuts that allow them to skip some of the boring stuff at the beginning.This approach would lend itself to a very tightly crafted revenge story as well as allowing you to take direct control over the pacing and tension, but death would still matter (as it does in a rogue like). The catch is that when you die, you go all the way back to the beginning. Players would also be able to learn the layout. The level would, of course, start out easy and get increasingly difficult, but it would all be planned out to have plenty of cover and relatively small groups of enemies. If it were my game, I would create one, somewhat long, and very difficult level ending with the final boss, who you are taking revenge on. So designing the game to support it would be a pretty good idea. It's a clean and simple revenge story that feels as if it jumped right out of a spaghetti western. Aside from the fighting, what really works about your game is the story. That wouldn't be a problem if it fit in with the rest of the game, but because it doesn't it makes more sense to scrap it than the entire combat system. The caves it generates are, frankly, rather boring. As I mentioned earlier, It doesn't really fit well with the other design elements. I think that the best way to keep the identity of your game intact and also make it playable is to get rid of the procedural generation. Plus, the combat is what distinguishes your game from Nuclear Throne, so changing it would really make this game feel like an imitation (right now it just kinda looks like one.). It feels like a cross between a Tarantino film with a lot less blood. There is some actual tension in hiding behind cover and waiting to jump into the fight. Right now, you get the sense that you are fighting against opponents who are largely your equals, as opposed to Nuclear Throne's monsters. Not only would you lose the (fantastic) feature of enemies using the turrets, but it would also fundamentally change the game's identity. It would encourage circle strafing and more player movement in general. This is what Nuclear Throne does, and it works very well for them. One option is to make the enemy bullets slower. The way I see it, there are two ways to fix this: change the moment to moment gameplay, or change the overall design. The design is contradictory at almost every level. Combine that with the fact that you start over fresh every time and your chances of getting farther than about level 3 are pretty slim. In your game, the level generation frequently creates large, empty spaces and the layout changes every time you die. The issue with that is that Hotline Miami's combat only works because there is plenty of cover and you can learn the level layouts by dying over and over again. You've combined the procedural generation of Nuclear Throne with the hit-scan (technically in this it's just very fast bullets) combat of Hotline Miami. The problem is that what you have right now can't really be balanced in any meaningful way. I really like the concept for the story and what you have so far feels pretty good (Those sound effects are awesome!). ![]()
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