Started mapping for Jimmy’s 2 Decades of Dooming contest. https://www.youtube.com/watch?v=goemzl_8Pdc 2 weeks to go… Only got the layout and sizing done…. Running out of time! 😬 #doom #doommapping #doommodding #doomlevel #udb #uzdoom #retrofps #retrogames
Pierwsza wojna światowa jest konfliktem, który mimo ogromnego znaczenia historycznego stosunkowo rzadko staje się głównym tematem gier wideo. W przeciwieństwie do drugiej wojny światowej czy współczesnych konfliktów zbrojnych, realia Wielkiej Wojny są znacznie trudniejsze do przedstawienia w dynamicznej formie rozgrywki. Walki okopowe, długotrwałe oblężenia oraz brutalne warunki panujące na…
short horror experience inspired by squirrel stapler
you are a mutated carrot shooting bunnies to protect your family
it’s finally finished :)
please consider checking it out for free and on the web if you want. Any kind of feedback will be greatly appreciated!
game link: morkof game
I love learning new tech and stuff in Ultrakill on my own.
Googling the tech or being told about said tech is awesome but when I discover one on my own I make a face similar to a pog and then fuck around with it until I either get it down on my own or say “fuck it” and google it lol.
But the most fun I’ve had with Ultrakill is figuring most of this stuff out on my own.
THURSDAY,
This game has been a pretty neat time capsule (controls ass-ide).
So come on by and see how Steven Spielberg’s big game wraps up!
this is my most ambitious project yet. i can’t wait to share this little experimental game :)
(a scene from the game below)
(game inspired by squirrel stapler. you are a mutated sentient carrot protecting your family from bunnies)
While some choices in the character design department contributed to the downfall of the game, the biggest factor to the failure has to be game play
Now it’s obvious that the developers at Wildlight are huge fans of shooters, which makes sense, a lot of them are ex Respawn devs, who made Titanfall and Apex Legends. Respawn was already made up of former Call of Duty devs, so shooters are in their DNA. While there’s nothing inherently wrong with that, I do believe it leads to a bit of tunnel vision because when you’re a hammer, everything looks like a nail.
You see this with Fighting games all the time. Whenever you hear about a new fighting game being made by Pro Fighting game players for Pro Fighting game players, you can tell that it’s going to fail because it will only appeal to those who are already immersed in the genre and know all the intricacies of there respective games, and will inevitable alienate casual players. And that’s a problem because these devs always underestimate how much power and money casual players wield, and I do believe that’s what Highguard has done.
So let’s break down how Highguards main (and only) game mode works:
First, you have to pick your character and then which base you’re going to defend (there are multiple to pick). No, this isn’t voting on a map like other shooters, you’re just picking your base while the enemy picks theirs.
Then the game starts and you start with a defense phase where you fortify walls in your base (that’s all you do).
Next is the Loot Phase, where you go out into the open map and loot chest for weapons and armor and mine resources. If it’s the first round, there will only be low level weapons and armor (grey and blue).
After that, it’s the Capture Phase where the Stormbreaker (the special sword in the poster) appears on the map and both teams fight to capture the Stormbreaker.
Next is the Attack Phase, where the team that captured the Stormbreaker tries to run it to the enemy base while the other team tries to stop them and take the Stormbreaker back so they can go on the attack.
When one team gets the Stormbreaker to the enemy base, that activates the Raid Phase, where the attacking team attempts to plant bombs on the defender’s generator to do damage to the base’s health or core to automatically win the game while the defenders try to stop them to not only save their base but also to do damage to the enemy’s base.
After that it goes back to the first Defense and Loot phase where now the loot will be a higher tier (Purple).
And you see how convoluted this is. There’s too many steps and phases, and it’s obvious that one sides game play (defense) was not fully developed.
Now when you look at most other shooters, you notice that all of them tend to have the same competitive game modes as well as some slight variations on them, those game modes being:
Deathmatch
Capture the Flag
Capture and Hold the Point
and Push the Cart
And the reason why most Shooters go with those game modes is because in their simplicity, it allows for variety in the moment to moment game play. It ensures that no two games feel the same because while you are doing the same thing in those modes, the strategies you apply, what weapons or characters you use, and the skills of all the players are different.
But with Highguard’s weird mix of game modes, it just ensures that every game is gonna feel the same because its too structured with all it’s different phases.
Now some of you might say, “Wait there is variety, you get to pick your base each game, and your enemy picks there own, that has to create variety in the game play right”, I’m sorry but the only thing that determines the layout. There’s nothing concrete that makes the decision actually mean anything like say turrets or traps to help with the defense. And while a pro player might be able to tell you the strategic differences are between the different bases, a casual player won’t because it’s not something concrete that they can see and understand how it’s affecting the game play so they’re just gonna pick whichever base the game recommends, which just shows just how casual unfriendly this game ended up being.
If I had to say what was the leading factor in the development which lead to the game being like this, it’s Toxic Positivity and Tunnel Vision. By what’s been reported, it seems as if Wildlight didn’t do any public or private beta testing, to both keep the game a secret, and to recreate the success of Apex Legends’ shadow drop. This means that they only relied on internal testing, which when almost everyone at the studio is being overly positive about everything, creating tunnel vision, which probably made them forget that not everyone will have the same perspective of the game as them. Because the average player will not know all the in’s and out’s of the game and will in their mind play the game incorrectly (which, while in the moment may seem like the correct view to have “Blame the Gamers for just not getting it”), I feel that’s not correct view to take. If a player needs to have intimate knowledge of the games development and have to play the game in a hyper specific way to have any fun, then I feel like you’ve designed a game poorly.
Overall, I’m not thrilled that this game is shutting down, because of this failure, 80 developers are now out of a job (possibly more if the studio ends up shutting down) and it’s not because of the gamers. It’s because the higher ups chose to be stubborn and stick to this overly complicated game mode because they loved it, stick with Atticus as their face because they loved him, and not get feedback from those that would be more critical because they assumed everyone would love it like they do.
Finally completed the special ability concept animation for my FPS game!! Huzzah!!
Final challenge map for Brigand BATTLES DLC, Texas Whiteout, has been translated into Chinese, thanks to EZ Old Men CH Localization Team.
Also fixed a MAJOR bug in Russian translation and more.
alright next time there’s a sale, I'mma buy a buncha gift codes for Tron 2.0
who wants to flood the multiplayer servers and when?
An uncanny mix of aesthetics and design sensibilities, The Citadel is bathed in an oppressive atmosphere. Cold, monolithic structures loom over the horizons, patrolled by cultists, drone and stormtroopers, rendered with hand drawn billboard sprites that starkly contrast with the harsh 3D of the environments.
Combat mixes the movement and level design of early FPS games, with a modern gun fetishist’s arsenal. Enemy attacks can be dodged or shot out of the air, and your character can move at the speed of an F1 car. But claustrophobic corridors and precarious drops make careful movement a necessity, and limited resources mean running and gunning is a long term liability.
Health points are severely limited, with your maximum values draining with your hunger, and oxygen limits your ability to move quickly, requiring you to constantly keep your resources stocked up to avoid being stuck in a desperate situation without the resources to escape it. Ammo drops are frequent, but armored foes tank enough hits that landing headshots is near mandatory for preventing weapons from running dry. Pistols and shotguns need to individually reload bullets, and fletchettes come in large quantity drums that can be accidentally tossed if reloading carelessly. Stages need to be completed in a single run, with checkpoints only available when spending your limited amount of lives at checkpoints.
It creates a survival horror-like economy where managing encounters with fodder enemies is key to keeping resources stacked for more dangerous encounters. I found myself peeking around corners, taking cover, carefully lining up shots, and compensating for gravity over long distances.
As the campaign continues, your arsenal grows, and weapon and movement upgrades begin to shift the balance in your favor. The horror then shifts from the desperate terror of survival, to the devastation that you visit upon the enemy. You might still be vulnerable, but the catastrophic effects even basic weapons have on the enemy begins to overwhelm the initial terror you had when facing them.
Bullets cleave their skulls into fragments, ejecting rib cages, limbs and innards across the environment. Surfaces become streaked with blood, and alt fire modes cause enemies to twitch and scream and their bodies are electrocuted or burned over the course of several seconds. This culminates in mech sections where you’re armed with boosters for generous vertical movement, anti-personnel rounds, artillery and explosives that shred through the opposition.
All of this is rendered in high detail sprite work, the garish colors and organic forms of each piece of viscera contrasting with the cold, harsh lines and colors of the environment.
Each enemy’s face is obscured by robes or masks, part of their fanatical dedication to the organization. It’s only in their deaths that you get a glimpse of their humanity. Fragments of their faces are left behind, caught in grimaces of pain, tears in their eyes as they stare back at you. The dissonance of seeing a grotesquely illustrated anime girl erupt from militaristic uniforms creates its own uncanny discomfort, which carries into the designs of the bosses you’ve been sent to obliterate.
Known as Angels, each boss represents a facet of humanity, twisted into body horror idols, worshipped and weaponized, at times against their wishes. One even begs you to put her out of her misery, kept alive for the religious agenda, unable to stop herself from attacking you. The Citadel’s storytelling is sparse, but the few details point to a suffocating future, with a fanatical spirituality driving both the enemies and the protagonist, The Martyr.
The Martyr is described as a human from a past world, with none of the cybernetic modifications that have become common in this world. She’s depicted in a fetish wear styled outfit, which alongside the religious themes brings to mind the aesthetics of Aeon Flux, which the developer has cited as an influence.
Unfortunately, this design, along the anime art style, seems to have been enough to trigger accusations that The Citadel is a work made to satisfy a sexual fetish, causing a wave of harassment against the developer and labeling the game as a guro game. The accusation doesn’t hold water, and seems to come from a strange Orientalist revulsion that doesn’t apply to Western artists who more explicitly combine sexual and horrific imagery.
For all its excess, The Citadel has a considered, even tactical approach to violence. Compared to the joyous fountains of blood in many modern games, it even feels restrained, keeping the violence impactful through its whole run time.
As I played through The Citadel I kept thinking about the War on Terror era military media. The paranoid fear of being deployed in a place where every civilian could turn into an enemy, where any space could collapse into a fireball from an IED. The dissonance of their tacticool depictions of military discipline and technology, where trained operatives cut cleanly through the enemy, supported by shock and awe campaigns of remote surveillance, drone strikes and superior firepower that can literally liquify inhabitants, remove their homes from the map, and reshape borders.
The Citadel carries similar contradictions. It’s a layered terror. A horror taking place at both ends of the barrel. A revolting spectacle that you can’t tear your eyes away from.
I mean this in the nicest way possible. But I genuinely do not get how people enjoy counter-strike. My experience with my friends has been “look down this corridor on mirage for two minutes, then die, and maybe get screamed at for being bad.” I want to like it SO bad, especially since my friends really like it, but I just can’t. It’s so supremely boring.
Literally the only reason I’ve thought to reinstall it was because my friend told me I only don’t like it because I’m bad, and I learned that I shouldn’t get good at a game only to prove a point the hard way.
What are your thoughts?
It’s double the chaos, as Warhammer 40K: Boltgun II intro’s its new foes
Malum Caedo is back in Warhammer 40,000: Boltgun II, this time joined by Sister of Battle Nyra Veyrath, as they take on hordes of new foes.
