While your story remains the same as you strive to save the missing townsfolk of a mining town in the Guildean Kingdom, how you save those people will constantly shift throughout Chasm, a Metroidvania that takes an array of challenging rooms and areas and stitches them together to form your own challenging journey.
Weapons, armor, and abilities that will let you make your way through previously-inaccessible areas are all key parts of Chasm's adventurous romp, but how those items fall into your lap can shift a great deal from game to game. This comes from the game's form of dungeon generation, which takes hand-crafted rooms, each designed to push the player in various ways or create complex routes for them to explore, and weaves them together in all-new setups on each run. This means that the journey will rarely be the same twice, and you can't just count on gaining those weapons or tools you like at a given time. You have to work with what you find.
Players who enjoy having to get creative with their item and weapon supply, as well as the endless curiosity that comes with having dozens of rooms to fight through and explore, will find some enjoyable peril in the depths of Chasm.
from IndieGames.com http://indiegames.com/2018/07/chasm_weaves_your_own_unique_a.html
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UBM Tech Game Network, organizers of the 2019 Game Developers Conference (GDC), is now accepting submissions for the 21st annual Independent Games Festival (IGF), the longest running festival, summit and showcase of independent games.
The IGF is part of the Game Developers Conference 2019, which will take place from March 18th through March 22nd at San Francisco's Moscone Convention Center. Entries for all of the IGF categories will be accepted now through October 1, 2018, with finalists announced in early January 2019.
Finalists will compete for over $50,000 in prizes and their games will be playable at the packed IGF Pavilion on the GDC 2019 Expo Floor. The award categories include Excellence in Visual Art, Audio, Design and Narrative, each of which will have six finalists, with the winner in each category receiving $3,000. Additional awards include the Best Student Game award ($3,000 prize) which will recognize student developers, the special Nuovo Award ($3,000, eight finalists) which honors the title that 'makes the jurors think differently about games as a medium', and the IGF Audience Award ($3,000 prize) which will be decided by a public vote from all of the competition finalists. Finally, six finalists will be selected for the $30,000 Seumas McNally Grand Prize.
Returning for the third time is the alt.ctrl.GDC Award ($3,000), an affiliated award to be given out during the IGF ceremony, honoring intriguing and inventive games using unique one-of-a-kind controllers. Finalists and the winner for this award will be picked from entries into the popular on-site GDC 2019 exhibit of the same name.
Winners will be announced on stage at the high-profile Independent Games Festival Awards on Wednesday, March 20th, 2019, at the Moscone Center in San Francisco, with the IGF Pavilion open from March 20th-22nd, and the sister Independent Games Summit event taking place on March 18th and 19th.
The Independent Games Festival is the longest-running and highest profile independent video game festival, summit and showcase. It has served as a springboard for several games that have gone on to become critical and cultural hits. Previous IGF prize winners from the past 20 years include Night in the Woods, Quadrilateral Cowboy, Her Story, Papers, Please, Spelunky, Minecraft, Limbo, World of Goo, Braid, Castle Crashers, Everyday Shooter and many more of the game industry's breakthrough independent titles. IGF continues to be the largest annual gathering of independent video game developers, showcasing top talent across the industry and keeping a pulse on the future of independent games.
- March 18 - March 22, 2019 - Game Developers Conference 2019
- March 18 - March 19, 2019 - Independent Games Summit @ GDC 2019
- March 20 - March 22, 2019 - IGF Pavilion @ GDC 2019
- March 20, 2019 - IGF Awards Ceremony (Winners announced)
This year, Independent Games Festival organizers are particularly interested in receiving submissions from those making interesting or experimental works who might otherwise not enter because of the fee. Those under-represented creators interested in applying for a waiver on the full ($75) entry fee can find additional details and the waiver application form on the submissions page. Entries should be submitted by September 14th, and if selected, they will be given the opportunity to enter IGF 2019 for free.
For more information on the 2019 Independent Games Festival, including submission specifics and frequently asked questions, please visit the official Independent Games Festival website. IGF entries can be submitted here.
For more information on GDC 2019 in general visit the show's official website, or subscribe to regular updates via Facebook, Twitter, or RSS. Official photos are available via the Official GDC Flickr account.
Gamasutra, GDC and the IGF are sibling organizations under parent UBM Americas
from IndieGames.com http://indiegames.com/2018/07/the_2019_independent_games_fes.html
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My Dungeon Girl experience took quite the turn: at first I thought "all of this is utterly pointless." A few hours later I was hooked. That's because your first forays into the game's dungeons are simply overwhelming. It explains all of its various mechanisms at once and in great detail, and this wall of text it throws at you is bound to confuse you to no end. Pointless clicking ensues. However, the more you play, the more sense everything starts to make, and that's where the game just draws you in.
Exploring the game's dungeons is a fairly abstract affair. Each floor is represented by a 6x6 grid, and you interact with it by clicking on its tiles. Search tiles need to be clicked in order to show the exit to the next floor. Work tiles give you money, heart tiles give you health, and sword tiles let you attack the enemies that sometimes appear. Occasionally, you can also pick up loot and materials.
You can click on any tile - no need to match three of them or something like that. However, the more of them you can group together, the better. Now, the whole point of dungeon exploration is making progress within the dungeon while also making money and not getting kicked out early by its denizens. It's a balancing act, and learning how to do all of this is a lot of fun. Every few dungeon floors, you can exit the dungeon and later re-enter at that exact same spot. That's how you make progress.
You're not completely alone in your endeavors, as you're joined by some companions who support you with their skill sets. The more time you spend with them, the more "friend points" you unlock, which in turn allows you to unlock skills, other companions, or small slice-of-life cutscenes.
Item crafting makes another huge impact. You can basically combine the things you find on your expeditions and create new or stronger items. I've not quite figured out how to do this right, mind. It ispretty complex (and better items are definitely needed for you to progress, that why I am currently stuck on level 45 or so.)
Dungeon Girl is an odd game. It neither feels like a traditional puzzle game, nor like a light RPG. The crowded UI and poor onboarding makes it hard to get a grip of what exactly is happening, but once you got it, you're going to be hooked. This is very much its own charming little thing, and it's extremely compelling.
from IndieGames.com http://indiegames.com/2018/07/dungeon_girl.html
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Three mecha pilots who are part of a space program fighting for humanity's future find themselves in command of their own destinies as the program falls apart, and things are quickly getting intense. Choose one of these three women as the pilot of your story and pick fights with the others, or kiss them - what happens in space, stays in space... right? Heaven Will Be Mine wants players to forge their own path in this saucy sci-fi visual novel jam packed with personal tragedies, secret loves, and space battles.
Duty or love? Heaven Will Be Mine wants players to decide between these heavy topics with the choices presented in each pilot's story. Players will be able to watch events unfold from three different perspectives (depending on which pilot they choose) and how their choices will affect humanity and space. Will you find love and abandon your mission, or will you hold your ideals high and win out for your faction? It will be up to you to grasp for what you feel is most important in this dying mission.
Captivating art, lo-fi beats, mixing mecha and making out, and a story shaped by whether you wish to save the universe or just find love amidst the flames of its destruction. Who could want more in a visual novel?
from IndieGames.com http://indiegames.com/2018/07/heaven_will_be_mine_is_a_visua.html
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If you've got a hankering for a short and sweet slice-of-life story with some weirdness thrown into the mix this fine Sunday morning, might I recommend the demo for the upcoming narrative coffee shop simulator, Coffee Talk?
Developer Toge Productions describe Coffe Talk as "a game about listening to people's problems and help them by serving a warm drink out of the ingredients you have. It is a game that tries to depict our lives as humanly as possible, while having a cast that is more than just humans."
So yes, it's one of these neat little narrative things and instead of me writing about it, you could just be playing it right now. It won't last you longer than a good breakfast and you will not regret it, I promise.
You can download the Coffee Talk demo from itch.io. The game will be out sometime in 2019. In the meantime, you can keep up with development via Twitter.
from IndieGames.com http://indiegames.com/2018/07/coffee_talk.html
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Genap tiga taun tua udah jadi
Bala menyadi nuan makin enggai meda aku
Ko jako bala sida aku tu nadai pemisi
Nadai reta tengkira mina nunduk ke sida
Ancur luluh atiku ninga jako cukup jaie
Sampai tua bini aku deka diserara ke sida
Nama meh penyalah aku sampai ke sida begedi
Lalu bejako kin kia madah ke aku tu jaie
[1]
Malu ku sulu disindir ipar diri empu
Sampai ke aku ditunjuk ke sida mua
Laban ke aku bebasa ke ipar diri empu
Enti enda pia sida dibai aku belaya
[2]
Nyamai ku nyurut kediri
Ari diperinsa sida
Minta ampun meh ku sulu
Laban ninggal ke nuan enggau ati sinu
[3]
Diatu baru sida nesal nemu penyalah diri
Nemu penyaie diri laban kelalu sumbung
Minta ampun bala ipar sereta bini aku
Aku sigi enda nikal pulai ngagai kita baru
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Being a witch seems like it comes with some handy magical powers, but when you have to hide them from your fellow campers while also trying to make friends, enjoy activities, and solve mysteries, things can get a little hairy in adorable adventure game Camp W.
As a little witch at her first sleepaway camp, things are probably stressful enough, but for whatever reason, you're being sent to a camp for regular humans who have long forgotten what magic is. As such, you'll want to deal with awkward friendships, trouble with bullies, and weird events without making your powers known, so you'll have to carefully choose when to make use of your magic abilities. These do make things easier, but only if you don't get seen using them. Camp life is hard enough without folks seeing you talking to a squirrel, after all.
Not that when and where to use magic is your only choice. You have to pick which activities to take part in with Camp W, as well as who you spend your time with. You can't become friends with everyone, so you'll want to pick your pals carefully. On top of this, there are some mysteries surrounding the camp you can solve if you dedicate the time and effort to them, as well as a number of collectibles to track down. Players only have time for a handful of activities during each run, so they'll have to explore the story in various ways to find all the game has to offer. Still, Camp W's charming story of trying to fit in when you're different is one that's well worth a few runs.
Camp W is available for $12.99 on Steam. For more information on the game and developer Psyop, you can head to the game's site or follow them on Facebook, YouTube, Tumblr, and Twitter.
from IndieGames.com http://indiegames.com/2018/07/camp_w_follows_a_young_witch_t.html
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Wacky and fast-paced multiplayer game Headsnatchers wants players to use their dirtiest tactics to steal their opponent's heads. Once you've got their noggin, you'll be doing goofy things with it like dunking it in a basketball hoop or flushing it down a toilet.
Also, nothing builds friendships more than lovingly punting your friend's head into a portal to hell.
In order to keep players feeling unique, and with a prize head to be stolen, they'll be given a range of heads to choose and decorate (over 100 unique heads!). In the 'Headitor', you'll be able to store up to 20 heads - so you won't have to be stuck with just one combination. You have to look snazzy while dodging obstacles, tentacles, and grabby hands!
Once you've settled on a head, it's time to start stealing others. There's 4 game modes (with various head-tossing objectives like the aforementioned head basketball) and 25 maps (Currently, online has 6) with both local and online multiplayer. If you feel partied out and need some me-time, take a moment and enjoy the Zombie Castle single player mode to unwind. Here, you can battle zombies for their heads alone, using the mode to refine your technique of decapitating your friends or defensive strategies for keeping your own head on tight!
from IndieGames.com http://indiegames.com/2018/07/your_friends_head_is_the_key_t.html
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Babies get into everything. Everything. There are gates, covers, sealers, and more when it comes to babyproofing a home, but tiny humans are more than capable of getting around them all. As such, Baby Hands wants players to take the seat of a curious ankle-biter and get their hands on everything, causing pint-sized mayhem. Using VR, you'll feel quite small within these gargantuan rooms full of things to grab at and throw around. Just try not to give your parents a headache. Or do it. I'm not your mom.
Baby Hands gives you a variety of places to crawl around in and things to interact with, offering tons of stuff to do and see. From the perspective of a chubby-handed baby, you'll be able to set off volcanoes, play with cars, shoot a water gun, the list goes on and on. Baby Hands is all about discovery and imagination, and with no clear objective, you're free to enjoy this sandbox world and stumble upon whatever fun you find, destructive or creative.
You may even discover your inner child (or baby!). Just try not to put everything in your mouth. You don't know where it's been.
from IndieGames.com http://indiegames.com/2018/07/baby_hands_lets_players_revisi.html
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Sailor Moon fans may find themselves hopelessly smitten with the diverse cast of magical girl otome/yuri visual novel Magical Warrior Diamond Heart, a game about a young lady gaining the power to overcome evil with some close (potentially VERY close) friends.
Valerie Amaranth is living a regular seventeen-year-old's life when she comes into contact with the power of the Legendary Crystal Warrior, Diamond Heart, finding herself dragged out of her daily problems to save Crystal Kingdoms and Princesses. Legendary powers are helpful for this sort of problem, but it's still not enough to handle things alone, which is why Valerie must find a crew of varied allies in order to help her tackle the Nightmare threat and save everyone.
Magical Warrior Diamond Heart isn't all about saving kingdoms, though, as you'll get to spend a lot of time getting closer to the other magical warriors who join you to help out. Male, female, and nonbinary relationships can be formed with each of these characters, or players can just become close friends with their crew, depending on what they feel comfortable with. If you feel you have time to play matchmaker while dealing with the Nightmare Agency, you can, as friendship and love are, deep down, the keys to overcoming the evil that's overtaken the crystal kingdom.
A demo for Magical Warrior Diamond Heart is available on Itch.io. For more information on the game and developer Pyonkotchi, you can head to the game's site, the developer's site, or follow them on Tumblr, YouTube, and Twitter. Development funds are also being raised on Kickstarter.
from IndieGames.com http://indiegames.com/2018/07/magical_warrior_diamond_heart_.html
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High above the ground, frenetic dogfighting abounding in new airborne shooter Airheart. As Amelia, you make a living through sky-fishing around the city of Granaria, surviving the dangerous pirates that roam the upper atmosphere.
Each stage takes you higher and higher into the air, your previous battleground visible below. Survival in this harsh world of flying fish and pirates is a matter of agility and weaponry, using your lasers, rifles, and other guns to blow your enemies out of the sky while evading their attacks. Catching fish let you upgrade your plane with new parts and weapons, choosing from a pool of over forty, allowing you to developer various builds ranging from a heavily-armed flying tank to an evasive harpoon-firing plane that can hook onto enemies and throw them around or detach their shields.
Building sky-bases let you reach further heights, testing your airborne prowess against powerful bosses and bigger fish and unlocking more powerful loot
from IndieGames.com http://indiegames.com/2018/07/survive_the_dieselpunk_skies_i.html
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Set in an otherworldly land, Yami is an upcoming 3D adventure, following a brave hero past its weird inhabitants and climbing through its monochrome ruins.
The game's site and trailer teases a platforming journey, where you stagger and climb across the mist-cloaked desert, through caverns, along cliff faces, amid weird light beings and to mountaintop villages. The dark monochrome imagery reveals a seemingly oppressive atmosphere, with light barely illuminating the shadowy environments.
Not many details are known about the gameplay at the moment, but GIFs on developer Goldborough Studio's Twitter reveal third-person movement around desert ruins and against powerful winds, and standing in front of mystical portals, hinting at the cryptic nature of Yami's world.
Yami is still in heavy development, and you can follow its progress through the game's site and Twitter page.
from IndieGames.com http://indiegames.com/2018/07/yami_is_a_platforming_adventur.html
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Semblance takes players to a soft, soothing, squishy world, one they can deform in order to solve its platforming puzzles and to explore the environments in their own ways. With a hard thump from their blobby character, players can create indents that can be used as platforms, adjust the terrain to get around hazards, and otherwise use the land's pliant nature to wander and maneuver.
"We stumbled on a sort of digital tactility. The sort of thing we're all after when talking about 'game feel'. We made something that really feels like some sort of digital playdoh," says Ben Myres of Nyamakop, developers of Semblance.
This softness, which the player can see at a glance, was a key part of Semblance's play experience, intertwining with every part of the game and its creation. Through this almost tactile feeling the game gave off, players would have a sense of how to interact with it, and it also helped guide the developers in how they would create their game, allowing for a kind of creativity born of touch that would have the game's creators and its players all having fun with it.
Glitch Born
"The softness in the game was the result of a saturation of soft references from other games, combined with a glitch that we let ourselves find the fun in. A total stroke of luck that we then remade much of the game's mechanics, story, and visuals revolve around," says Myres.
Semblance came from a desire to create something soft and squishy from its very beginnings. "Cukia (Nyamakop co-founder Cukia 'Sugar' Kimani) made this prototype in university set inside a Rothko painting. You had this character who could change shape, and the idea was you would change the painting too. I begged him to let me do levels for it, and he eventually relented. From that point we focused on this interesting idea of the character changing shape and expanded on it mechanically. We also spent a lot of time making this character feel really squishy and soft - expanding on the character ideas in INK," says Myres.
"For about a year, we focused on this idea and explored it, but it was hard to generate enough content and we discovered the incredible Mushroom 11, which did the idea much better. But we ventured on, and explored making the world of this soft character feel soft too, and so Cukia was making these little impressions when you touched platforms. They would also dent a bit when you dashed into them. This made the world feel really soft to interact with," he continues.
This focus on softness came with a certain creative spirit - a spirit of fun being found in unlikely places, popping up where you might not be looking for it. Simply being able to make a dent in the ground when bumping into something lead to a further gameplay idea, this one born from a glitch.
"For a long time, Cukia's favorite game was The Floor is Jell,y which has these wild jelly platforms and is so calming to play. I loved it too, but I was interested that the deforming itself wasn't explored a ton apart from a bit at the beginning and in a fabulously glitchy way at the end of the game. So, when I saw this denting of the platforms, I experimented a bit and found that there was a glitch - if you dashed into platforms quickly enough, you could actually make them deform quite far beyond their initial position. I put a collectible behind one of these platforms and found you could actually collect it if you were quick enough, " says Myres. "At this moment I turned to Cukia, and said '... Sugar... lets make this the whole game.' I'll be damned if he didn't somehow figure out the blood magic that made it possible," he continues.
With this glitch came the game's play style, which would revolve around deforming the squishy world by thumping into it. The feeling that the world gave off, which the developers had been chasing, slowly seemed to choose its own means of interaction, giving Nyamakop an excellent idea on how players would interact with their world.
"The deforming mechanic evolved out of chasing a soft aesthetic, and we just kind of ran with it. Semblance is really just a game that asks two questions about innate affordances of the genre: what if you could affect platforms' shape/position and what if the character's shape could change," says Myres.
-Photo Credit Nyamakop/ Jean Roux
Chasing Digital Softness
How does one make something 'feel' soft, visually? How do you make something have a certain feeling when no one will ever make real contact with it? This is a question that dogged Myres and his fellow developers throughout the creation of Semblance. However, it would also lead to them capturing many different ways to represent the feeling of 'soft' in their game's world.
"It was really challenging! We got a lot of the feeling innately from the core mechanic of the deforming world - just being able to deform platforms makes players sense how soft things are. However, we spent a ton of time iterating on many things to make that softness clear at a glance. The character has a weight on deforming platforms, kind of putting little impressions on them as they move over the platforms. We also made as many things as possible jiggle and wiggle as you move past them," says Myres.
Simply being able to have an impact on the ground in a visible way gave that feeling that things were soft. The player could sense that squishiness as they watched the ground move under their slime hero, as well as when it shifted due to an impact. Visually, this touch was enough to give the player a tactile sense of what the world was like.
Watching that ground bounce around the character also helped the developers convey a certain feeling in the world. "Weirdly, 'springiness' of objects also makes things feel soft," says Myres. "If something springs back when you touch it, you brain assumes it's soft to touch, and absorbs a lot of pressure before springing back. So, we put springs everywhere we could - to animate the character procedurally, to move impressions back into place, and of course to reset/deform platforms. Again, this is something we got from focusing on the core mechanics."
The landscapes themselves, untouched, could also convey that sense of softness. "We also spent what feels like an eon in the concept art phase. We iterated through so many textures and shapes to try to find something that visually looked soft. We settled on something pretty simple ultimately: rounded edges for soft, and corners for hard things. We experimented with alot of textures to try to support the softness, but it was too tricky to get right, so we ended up putting textures only on hard objects to make them feel crystalline and hard. We also got a lot of tactility from the background and foreground elements our artist, Jean Roux, put together. Having rounded branches on trees, and even rounded mountains really makes you feel like this whole world is soft and squishy," says Myres.
"Contrast also helps a lot here - making things feel hard helps the soft things feel soft too. So that crystalline texture on hard platforms and infected objects was important, too. Making spiky things dangerous and feel visually distinct to the soft things helped a ton as well. Additionally, making the character change shape when dashing into hard objects helps the character (who is literally a piece of the ground brought to life) feel ultra squishy and soft. The character is so soft that a hard impact with something hard will change its shape," he continues.
Visual and gameplay elements contributed to that soft sensation, but the sound design was equally important in making players really connect to that tactile feeling. "The sound effects are also important, of course. We really gave our sound designer, Keith Kavayi, free reign on exploring this sensation. He went through lots of iterations to settle on the perfect balance of soft and squishy, but also springy and deformable. The game sounds soft in the right places, but also the deforming makes auditory sense too. He also made a wonderfully gross set of sounds for the character changing shape and drifting over the terrain," says Myres.
Squishable Heroes
This world wouldn't have completed its soft sensation with a hard hero, which challenged the developers to make a truly jiggly blob hero for players to take control of. "The character was a really interesting and complex thing to make. Cukia started out with a simple deforming character in his first prototype, but we spent a lot of time deepening the feeling he had," says Myres.
"To get a strong sensation, we actually had to procedurally render and animate the character. The shape is rendered using bezier curves, and then the character 'frames' are made up of bezier curves in unique settings and formats. Then we use a numeric springing algorithm to move between those 'frames', which acts as our animation. Then the eyes on the character also have specific positions for each animation, and jigglier settings on their spring algorithms that emphasize the motion and give the character's movement a feeling of momentum," he continues.
Having that wriggly character bounding about and reacting to the player's actions, with both eyes and body, was key to making that rubbery sensation clear in the world. Making it react to the world it had misshapen was also important to that soft sensation, too. "Finally, the character also moves over the ground smoothly in any way it has been deformed. It's not just the motion here, but the character's shape also matches the shape of the deformed terrain, " says Myres.
"Cukia always says 'people think the platform deformation was the hardest thing to do, but it was actually making the character contour to platforms,'. This enabled us to make the character feel super jiggly in a ton of different situations, without having to manually animate every one," he continues.
All of these things, working in tandem, would give Semblance its powerful, tactile sense of softness - that feeling that the player could reach out and find it squishy on contact.
-Photo Credit Nyamakop/ Jean Roux
Soothing, Soft Results
The results from the developer's focus on sensation have given the game a great power, one many players react to naturally.
"The most striking example is kids under 5 playing the game. They can barely master the controls, and don't really progress in the puzzles, but my-oh-my they love deforming the terrain - it just feels so good to them," says Myres.
It's an extremely satisfying thing to do, based on that sensation of visible touch the developers at Nyamakop worked so hard on. "So really, the deforming terrain is just an innately satisfying thing to do - people love doing it. It also puts them into the mindset of 'this is a toy', which makes them want to experiment and explore the game more. We also want it to feel soothing - because the enjoyment of the mechanic feels so good, we didn't want to put in too many roaming enemies. It should feel relaxing and satisfying to play, not necessarily adrenaline-inducing. The soundtrack Daniel Caleb put together really deepens this calming feeling, too. We also tried to avoid too many hardcore platforming challenges to avoid frustration for this reason," says Myres.
This softness, born of found fun in an unexpected place, would also tie into the game's play style and its soothing mood, creating puzzles with various solutions that would encourage players to find out what worked rather than seeking some specific solution. Not that the developers knew this at first.
"We don't mean to toot our own horn, but we could really tell the mechanic was interesting when we... well...had absolutely no idea what to do with it. We had to spent a ton of time exploring and really discovering how this mechanic changed the genre. We came up with lots of ideas, created dozens of puzzles, playtested them and then players completely destroyed our painstakingly constructed solutions. Designing puzzles for Semblance was like driving in sand, you can't try to direct the car, you have to go with the flow of the wheel as the sand gives way here and there. We had to experiment, see players find alternate solutions, and follow them down the rabbit hole," says Myres.
"Seeing as the mechanic came from a glitch, we had to be true to that starting point. We had to be aware of fun coming from unexpected places - undesigned places. Often players would create solutions, or try things that didn't work, and we would think 'Oh... that's interesting. That's a whole new set of puzzles to explore.' We were discovering the possibility space with players as we went along. We also often found that it would be a mistake to try make single solution puzzles, and instead ended up with 'solution ranges'. Most puzzles have many small varying ways to solve the platforms (as the deforming enables), and some even have major different solutions. As long as players are solving puzzles more or less with the specific tools we wanted, then we decided to leave those solutions in," he continues.
In this way, the developers at Nyamakop had to be pliant as well, willing to bend and reshape their image of the game to suit what the players were drawing out of it, and the interesting ways they were playing with the toy that they had created. That softness, which bled into every aspect of design, was also personified by the attitudes and designs of its creators. They would allow themselves to be shaped by the game, embracing it as a mindset as well as a feeling to be conveyed.
As the developers opened themselves up to these solutions, more puzzle ideas came along. "At a more pragmatic level, as we discovered the possibility space, we started restricting it in certain ways (some things were technically too hard to do, or not interesting enough design-wise), and designing puzzles around certain interactions. Like as simple as 'let's make some wall jumping puzzles' and so on. In this process, we made a bunch of puzzles for the goal interaction, but also kept finding other interesting interactions - so it was a rabbit hole all the way down," says Myres.
"As we figured out the possibility space, we realised we might be left with an inaccessible mess of lateral thinking puzzles. This lead us to think hard about learning and the meta level design. We started to think through the lens of how a player would learn about deforming the platforms and the associated mechanics. We also wanted to avoid restricting players - if you get stuck on a puzzle that shouldn't be game over. You should be able to leave, solve some other puzzles, and come back, perhaps learning how to solve that puzzle from a different puzzle further on," he continues.
The world's solutions would be pliant and soft as well, open to interpretation by their players. Open to new solutions, or leaving and coming back with new experiences. It would push the game away from that hardness that comes with focusing on challenging the player in a single way and forcing them to learn it, instead leaning toward a world that could be moved by creativity within the developers and those who would play Semblance.
"So, we spent a bunch of time figuring out how to teach the basic deforming aspects with level design, and then built up to our more complex puzzles. We also isolated mechanics to certain levels, so players could move between levels without necessarily having to master each level element. Then in the last 1 or 2 levels of a world, we challenge the player to figure out something tricky. This enabled a rather lateral mechanic, deforming platforms, to become quite accessible," says Myres.
Softness infused every aspect of development, from a look to a play design style to a developmental philosophy, resulting in the charming, soothing experience of Semblance.
from IndieGames.com http://indiegames.com/2018/07/squishy_soft_soothing_-_how_so.html
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An impressive student project from NHTV Breda University of Applied Sciences, To The Core places you in the boots and gauntlet of Emily as she runs, leaps, dashes, and bashes through a procedural gauntlet of tricky platforming and robotic foes.
To save your father, you must enter this assortment of tricky platforming challenges, testing both your speed (for the leaderboards) and your agility as you use the gauntlet to precisely aim your lateral movement. As you jump and dash through the towering rusted structures, the randomized paths and enemy waves grow increasingly challenging, moving from simple rooftops to requiring carefully-timed combinations of double jumps and air dashes and using your gauntlet to defeat hordes of mechanical monsters.
Weekly challenges and online leaderboards provide incentive to master To The Core's mechanics and return to test your platforming prowess.
To The Core is available as a free download through Steam.
from IndieGames.com http://indiegames.com/2018/07/to_the_core_is_a_freeware_proc.html
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Tales of full-priced games going free-to-play are plentiful these days - and often an indication that those games aren't doing too well. So when a game goes the other way, moving from free-to-play to a "premium" model, this is likely to raise a few eyebrows. However, in the case of strategic card game Faeria, this uncommon move makes a lot of sense.
You see, the move away from free-to-play is supposed to level the playing field. No more "pay to win" shenanigans, as booster packs full of cards aren't exclusively tied to costly microtransactions anymore. This way, the game's balance isn't skewed in favor of the players with the deepest pockets. And that's a good thing, as Faeria really deserves a well-balanced multiplayer part.
The basics of Faeria's gameplay are similar to well-known card games such as Hearthstone. You summon your units, each of which has a health and attack rating and maybe some extra traits, and then those little creatures trade blows on the battlefield. However, this playing space isn't just a flat surface where positioning doesn't matter. Instead, both players build the battlefield, creating paths, and taking over resource-producing nodes.
This allows for several ways of reaching your opponent - you can build a straight pathway and try to overwhelm them with weaker units, or you branch out, take over some nodes, and build up a sizeable army instead. Also, dumping a strong unit in front of your opponent's doorstep while all of his minions rush towards your hero can turn the tide of battle and lead to some rather exciting situations. The game requires you to adapt, not just go with one strategy and brute-force your way through it.
While Faeria is a multiplayer game with a lively tournament scene, there is a whole lot of single player stuff to keep you busy as well. In fact, playing single player missions and puzzles seems to be the fastest way of unlocking the full set of cards that the base set has to offer. Regular paid expansion content is supposed to deliver an infusion of new cards every few months, keeping the metagame interesting and throwing new game mechanics into the mix. The first of these expansions, Fall of Everlife, was recently released adds 40 new cards to your collection.
I only spent a few hours with Faeria so far and that's not nearly enough time to evaluate everything it has to offer. Still, it's already quite apparent that the game sets itself apart from similar games in a good way and, if developers Abrakam manage to keep the balancing right, deserves an enthusiastic audience, enjoying themselves on a level playing field.
You can purchase Faeria from Steam for $24.99 (and the expansion Fall of Everlife for $13.99). More information can be found on the game's website.
from IndieGames.com http://indiegames.com/2018/07/faeria.html
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Berikut ini adalah berita malaysia dan informasi terbaru hari ini untuk pemerintah diraja malaysia, selamat membaca, dan jangan lupa berikan komentar dan berikan pendapat anda tentang apa yang anda baca hari ini. selamat beraktifitas
The Malaysian Insight melaporkan sebuah syarikat yang dikaitkan dengan Presiden Umno Ahmad Zahid Hamidi adalah antara syarikat Malaysia yang dinamakan dalam sindiket penipuan yang didakwa menipu pekerja Nepal sehingga meraih RM185 juta (Rs5 bilion) sejak lima tahun lalu, lapor portal Nepali Times.
Portal berita dalam talian Nepal itu dalam laporannya bertajuk “Kleptocrats of Kathmandu and Kuala Lumpur” menamakan Bestinet Sdn Bhd bersama-sama beberapa syarikat lain yang menerima sokongan politikus berpengaruh Malaysia sebagai antara pihak yang meraih keuntungan daripada proses baharu pengambilan pekerja asing dilaksanakan Putrajaya.
Selain Bestinet yang didakwa diuruskan ipar Zahid, Amin Abdul Nor, laporan turut menamakan beberapa syarikat di Kathmandu, Malaysia VLN Nepal dan One Stop Centre (OSC) terlibat dalam penipuan pendaftaran pekerja asing negara itu.
Laporan turut mendakwa yang adik Zahid, Abdul Hakim Hamidi dan bekas menteri dalam negeri Azmi Khalid memiliki kepentingan dalam syarikat berkenaan.
Zahid yang merupakan timbalan perdana menteri juga adalah menteri dalam negeri dalam pentadbiran Barisan Nasional sebelum kalah pada pilihan raya umum lalu.
“Semuanya bermula lima tahun lalu ketika (bekas) menteri dalam negeri Ahmad Zahid Hamidi memberikan kontrak kepada syarikat swasta (Ultra Kirana Sdn Bhd) yang menghendaki pekerja Nepal memohon visa kerja menerusi syarikat sekutu di Kathamandu- Malaysia VLN Nepal.
“Agensi mengenakan caj sebanyak Rs3,200 (RM118) untuk setiap pekerja Nepal yang mahu bekerja di Malaysia, dan mengutip Rs 1.95 bilion daripada lebih 600,000 pekerja antara September 2013 dan April 2018,” katanya.
Laporan menyebut yang Bestinet bekerjasama dengan Persekutuan Profesional Kesihatan Nepal (NHPF) bagi menjalankan saringan biometrik dengan caj Rs4,500 (RM167) setiap pekerja Nepal selepas Putrajaya mewajibkan semua pekerja dari negara itu melakukan ujian biometrik pada Julai 2015.
Sedangkan, proses permohonan visa sebelum ini kosnya lebih rendah berbanding kos yang terpaksa dibayar pekerja untuk menggunakan khidmat syarikat swasta bagi memproses visa dan saringan biometrik.
Laporan mendakwa semua peraturan baharu itu dilaksanakan tergesa-gesa, tanpa ketelusan dan tiada perjanjian antara kerajaan Nepal dan Malaysia ditandatangani.
Portal itu menyebut yang Menteri Buruh Nepal Gokarna Bista sedang menjalankan operasi besar-besaran menghapuskan syarikat di Kathamandu yang mengenakan caj melampau kepada pekerja untuk pergi bekerja di negara asing.
Sebelum ini, Bestinet menafikan terlibat dalam sindiket penyeludupan pekerja Bangladesh, berkata ia bukanlah agensi rekrut pekerja dan tidak terlibat dalam proses merekrut pekerja asing di Malaysia atau di negara luar.
Model SX11 merupakan model pertama Geely Auto menggunakan platfrom BMA (B-segment Modular Architecture).
SX11 akan bersaing dengan HR-V, CX-3 dan C-HR. Namun gambar yang dipamerkan menunjukkan SX11 menggunakan kereta Mercedez-Benz dan Audi sebagai pesaing.
Antara butiran yang dikeluarkan. Enjin 1.5liter turbo. Max output 177ps, max tork 255 NM dan 0-100 cuma 7.9 saat menggunakan enjin yang telah dibangunkan bersama oleh Volvo dan Geely. (SX40 Volvo)
Harga? Belum dapat dipastikan lagi. Antara julat yang dijangka oleh pandulaju.com ialah rm 80-90K.
Bila model ini akan dilancarkan Proton? Bersabar ye...kena tunggu Boyue dilancarkan dulu. 2019 baru model ni masuk Malaysia.
from KeZooM https://kezoom.blogspot.com/2018/07/spesifikasi-asas-proton-sx11.html
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UBM Tech Game Network, organizers of the 2019 Game Developers Conference (GDC), is now 
