I’m enjoying implementing the item sprites into the ‘Item Get’ animation!

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seen from Germany
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seen from United States

seen from Malaysia
seen from United States
seen from China
seen from Malaysia
I’m enjoying implementing the item sprites into the ‘Item Get’ animation!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Lecture week 5
In this week's lecture, we mostly went through more things on gdevelop, what caught my attention mostly was scope. Previously, I had stumped myself into a bad game as I wanted too much for my game and spent too long conceptualizing it rather than actually thinking about the player experience. I learnt especially from the playtesting period that its more important to get the fundamentals down for these short week periods of game making rather than perfect every detail and mulling over the idea and look of the game.
Since our next game we have to make is something related to an asteroids style shooting game, I had gotten ideas of a meelee asteroids where it promoted more risky gameplay for better rewards, where shooting is optional but its way more better to hit the enemies. I particularly liked the idea of adding different animations for the same attack, since I liked to focus mostly on the animation side of game development.
I am up to my ears in university work but at least I can draw illustrations for it: her name is Susa and she’s the protagonist of a fictonial Solarpunk game as well as the proud owner of the snazziest phone-charging poncho in the history of ever
Sunset, Tale of Tales and FailGames
#Sunset, Tale of Tales and FailGames #indiegames #altgames #gamedev #ToT #PRISOM #elit
After reading the news that the experimental game studio Tale of Tales has sadly ceased game development after their latest game, Sunset, sold only 4,000 copies, I immediately reached out to one half of the ToT’s crew, Auriea Harvey. Auriea and her partner in all aspects, Michaël Samyn, have been creating work in the same online…
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Scarlet Scandalous: Elements and Enemies
For the benefit of new followers, 'Scarlet Scandalous' and 'Victor Victorious' videogame projects and associated characters, worlds and narratives are legal intellectual property of the developer (that would be me). Not that I imagine there's anyone out there who's desperately eager to seize creative assets off a hobbyist game dev with no proven track record, but fuck it, it's worth mentioning.
As a lot of you know (but still don't care), I've been building a sequel to Victor Victorious, the game I release back in 2014. The big gimmick this time round is that you standard attack changes in accordance with your environment because you have the ability to channel ambient energy from the world around you. I'm currently developing the fourth level, so I thought it was time to give y'all a sneak peak at the what I'm going to dubiously term the 'elements' you can attack with- at least the one's I've come up with so far that relate to the four levels that currently exist.
Electricity: A pretty standard videogame "element", the electric attack lets you shock your enemies into submission with busts of lightning-like static. I'm particularly pleased with the animation for defeated enemies with this one, because you can see the static lines still crackling across their twitching, unconscious forms after they've been knocked out.
Gravity: A rather less well-used "element", the gravity attack is used to apply massive, singularity-level gravitational pressure to enemies, thus squashing them down to minute sizes. Conceptually fun, but a nightmare to decide sound-effects for.
Fireball: Back to the standard elemental suite offered by many videogames for this one. That said, does hitting enemies with a fireball and leaving them smoking on the ground ever get old? Experts say not.
Dazzle: The dazzle attack uses blinding light to leave enemies dazed and confused. It's one of the more fun little attacks in the game- unlike many of the game's other more devastating attacks, it only incapacitates rather than implying serious internal injuries.
Speaking of enemies, however, one of the big challenges of the development process has been creating new ones. Victorious had a pretty well-rounded suite of enemies and obstacles: there were enemies that rushed you when you got close, enemies with short-range weapons,enemies with long range weapons and enemies with vertical instead of horizontal attacks. However, because the core gameplay in Scarlet Scandalous is so similar to that of its predecessor, it's still necessary to expand on the roster enough to maintain player interest. One new enemy type that's already been completed is an enemy that drops on you from above when you try to pass under it. Obviously, each instance of this enemy-type can only be used once, because once it's dropped, it's pretty much off the screen and no longer a threat. As such, another aerial enemy-type is currently under development that continually drops bombs from a high vantage point- I think I might have these weapons explode to create a wider area of danger whenever they the ground rather than allowing them to just disappear off the screen like the one-use drop enemy. Another idea for an enemy-type (in reality more of an obstacle) is for a sealed box covered in projectile weapons that fires in the four cardinal directions simultaneously before switching to fire at their diagonal equivalents, leaving the player only a brief moment to adjust their position to get out of the upcoming line of fire.
Anyway, I'll be putting up some screenshots as soon as there's enough new levels that it wouldn't be giving too much away. I can't really take fan suggestions for enemy types, because the programming for them is a pain in the arse as it is. However, if there's any new attack energy types you'd be curious to see, why not let me know?

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Landmark Design Philosophy
As a few of you know and a few less of you care, I've been building a videogame called Scarlet Scandalous for a while now- the sequel to my debut title Victor Victorious (which you can download for free HERE) and the second in the 'Protectoriat' series.
Today I was building the third playable level (which is an awesome level that marries ancient Grecian-inspired architecture with massive fuck-off volcanoes and the ability to set your enemies on fire), and based on what I did with this level, I've decided to start practicing what I'm going to start calling 'Landmark Design Philosophy' for the rest of the game.
It's not unusual for larger triple-A games to include particular structures or areas in the game-worlds made from unique assets (or designed to look unique using existing assets) to serve as landmarks for the player. In free-to-download linear platformers, there's always the time, budget or necessity to put effort into creating these structures. However, for Scarlet Scandalous, that's exactly what I intend to do. Because each level represents a world that exists in a vast, complex multiverse, I don't want any level in the game to feel generic: each level has to feel like a place that could have occurred organically. There has to be interesting things for the player to find as they go through the level. As such, in every new level built for Scarlet Scandalous, I intend to include one unique 'landmark' to tie the rest of the level together and create a sense of a specific, non-generic locale.
To a certain extent, this builds on the design philosophy already established in Victor Victorious. The basic principle of Victorious' design was that platforms and backgrounds should be unique to each level with no recycling of these aesthetic assets. Sure, you'd still be dodging enemies and leaping over spikes regardless of whether the ground under your feet was multi-coloured stone, glittering jewels or worryingly-unidentified organic matter, but ensuring that each level was made of different aesthetic components helped separate the worlds of the Multiverse and create a feeling of discovery. Scarlet Scandalous is just adding to that by ensuring that each level has at least one distinctive area within it designed to enhance the idea that the world is an organic place with different locales not just a carefully-arranged set of platforms laid out to challenge a player.
To be honest, disguising the fact that each level, area or world in a game is essentially just an artificially-contrived obstacle course has been a major part of the business of game design since the technology got good enough to give levels more than the most rudimentary graphics. The tricks used to achieve this in Scarlet Scandalous are just a bit more sophisticated than those in my inaugural outing.
Excel Commander- the Adjutant, 2nd playable character.
Her schtick are two mechanical arms capable of jet propulsion.