Noipe

So, I just wanted to get a word out there, even if my words aren’t very trusted anymore. I wanted to post about TRTF, because Tyler as of late has been busy “working” on a new game. The Road that Falls.

I want to talk about why the original The Return to Freddy’s 5 cannot work.

Let’s get real, it’s absolutely possible to make within Clickteam Fusion 2.5 if you make the animations smaller resolution wise and then scale them up in real time using Fusion’s scaling feature, but as far as I can tell anyone who attempts to make something like TRTF 5 has almost no experience with the engine, INCLUDING YOU TYLER/PONIATOR/BFP and thus wouldn’t have any idea what these features are or how to use them.

Now just because something is possible, doesn’t make it good. TRTF 5 would not be good, and I don’t just mean in a story sense. The problem with a game like this is how difficult it is to get a sense of space or depth. With a full 3D game you can move around at your leasure and see things in 3D space, with a game like that you cannot and i repeat CANNOT get a sense of where things are. When the player needs to rely on a map to even know they can or can’t go where they’re trying to go your game design has failed.

All the wonky mechanics that were introduced don’t work. The leaning part made it so the player couldn’t just walk down a hallway, they had to know they had to lean and then move forward. It’s not fun and it’s incredibly confusing for anyone who isn’t aware what’s going on.

You’re not making a 3D game, stop acting like it. TRTF 5 was a 2.5D game, you were designing a 2D game with a (poorly executed) 3D effect and expecting to do all these advanced things in the name of making it feel more like a 3D game. The game would’ve been a nightmare to play.

Above all else, Tyler wasn’t a man who liked to compromise, he had these incredibly ambitions ideas like an end cutscene about “the war” which was like a texas shootout between gangs or something, he kept trying to go big despite before only being able to go small.