I posted my art on Reddit asking for feedback on making the 3d character as I was not happy with the results, one post got hit by bots, but rebounded, one comment was not feedback but a veiled attack, basically saying I have art but never programmed a day in my life, so I responded, with my 80 apps history and other projects not made for web in html. So far reddit is doing a ok job at stopping the majority of bot activity, but it requires the user to report stuff, also the bots come back, I am very happy that some of the genuine feedback I got, about using blender and Unreal engine meta humans.
Links to the three posts:
https://www.reddit.com/r/SoloDevelopment/comments/1rmjs98/my_old_school_adventure_game_struggling_with_the/
https://www.reddit.com/r/IndieGaming/comments/1rmjp1j/my_old_school_adventure_game_struggling_with_the/
https://www.reddit.com/r/IndieDev/comments/1rmgnwc/whats_the_best_software_to_create_3d_characters/
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In our last post, we talked about how our vision for the final game has evolved, and while some changes, made by choice, others by necessity. We also outlined our design pillars and defined what kind of game we truly wanted. In that case, what we came up is :
[Firva: Strings of Fate Must be a story-driven action-adventure with cinematic atmospherescenes and set pieces, set in a rich, grimdark world and tone, with engaging combat.
Players will step into the darkest fate as Firva, driven by vengeance and bound to revenge, mastering the precision of parrying or the thrill of dashing through danger.]
With this new identity taking shape, we realized the best place to begin was not with new gameplay features (even due there are a lot to cover there) but with our visual identity. Our old logo, icon, and logotype no longer reflected who we’ve become or the story we want to tell.
Even due Much of our narrative remains intact and, in many ways, improved, but we needed a new symbol that truly communicates the soul of our world: something ancient, majestic, and steeped in legend.
FIRVA is identity reflects a world where threads of destiny bind every being mortal and divine through forged consequence. The visual language balances ancient mythic weight with modern narrative clarity, creating a world that feels eternal, sacred, and beautifully doomed.
Before we move forward with the redesign, we want to take a moment to look back at what our old logo represented, how it shaped our early creative direction, and what we learned from it.
Image of Old Logo Type of Firva (Not in Use anymore)
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1. Typography & Form
Our original logotype was crafted using a sharp, custom font designed to look aggressive and dangerous, as though each letter could cut your hand. The typeface was metallic and stylized, evoking forged steel and weapon edges a visual language that resonated strongly with fantasy and action RPG aesthetics.
The pointed ends and beveled surfaces on letters like F, R, and A suggested strength, tension, and destiny, aligning perfectly with our strings of fate concept.
The varying stroke thickness and subtle curvature introduced a sense of motion and organic energy, balancing rigidity with fluidity symbolizing the clash between control and chaos.
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2. The Red String Motif
A defining feature of the design was the red thread winding through the letters. This was more than decoration it was storytelling.
Inspired by the East Asian myth of the red string of fate, which connects destined souls, (even due in the East Asian myth it is mostly used for love) the thread looped through the (R), with letter (I) highly resembling a sawing needle that was going to symbolize the power of sawing destiny with the theme that everything is connected by unseen strings. And interesting point is that the letter (I) unintentionally, ended up resembling a Japanese throwing knife.
Image of Icon Variant (Not in Use anymore)
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3. Subtitle Design: The Strings of Fate
Beneath the title sat the subtitle on a torn red banner, rough-edged and textured to contrast the refined metallic letters above.
The white serif typeface added clarity and poetic rhythm, grounding the design and reinforcing the subtitle as a narrative tagline.
Image of Icon Variant (Not in Use anymore)
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Images is the Main and Final design
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The Weight of a Symbol
When we first revealed Firva: Strings of Fate, our logo the sleek, metallic design entwined by a red thread, it represented everything we thought the project was about. It was sharp, elegant, cinematic.
It looked like destiny forged by human hands precise, intentional, and alive.
But as the world of Firva began to deepen, something started to feel off.
The more we explored its myths, the gods, the rituals, the forgotten civilizations that shaped the Strings themselves, the more the polished surface of the logo felt like an artifact from outside the world, not of it.
So we started digging, both creatively and literally.
From Logo to Relic
We realized Firva should not be a story told by modern hands. It should be an ancient myth inside its own universe to be rediscovered, a world that predated language and memory Our game is identity needed to feel excavated, not designed.
That is how the Relic Coin was born (inspired by Old forgotten Earth empires that told the story of heroes and kings), the circular coin etched with two figures, a bow, and strings of fate connected to it (the bow is a highly important object in our game) It was not drawn on a tablet screen; it was chiseled into stone. It was not meant to be read; it was meant to be remembered.
When we placed the Coin over the cracked Stone, something clicked. It was not a logo anymore, it was a piece of our game-world's truth.
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A World Forged, Not Branded
There is a difference between a logo that represents a game and one that belongs to the world inside it. The first design worked beautifully for marketing; it was modern, cinematic, and precise. But Firva has never been about precision. It is about inevitability, decay, the weight of stories that refuse to die.
The Coin reflects that:
It’s uneven.
It is heavy.
It feels older than language itself.
In abandoning the polished mark, we embraced something imperfect, eternal, and human.
When we updated the logo, the entire art direction shifted with it:
Our color palette darkened into embers and bronze.
Our compositions became wider, slower, and more ritualistic.
Even the UI started borrowing from ancient symbols rather than modern frames.
Firva no longer shines; it glows from within. The fire does not reflect off it; the fire is it.
Art direction is not about what looks beautiful; it is about what feels inevitable. The Coin was not an upgrade; it was a revelation. It reminded us that Firva is not trying to sell a story. It is trying to remember one.
We left behind the thread and found the forge.
And in doing so, Firva finally found its voice.
We thought we were designing a logo.
Turns out, we were uncovering a relic.
The change is not just visual, it is philosophical. The new FIRVA emblem is more than a title screen; its a key.
A door into a myth that doesnot want to be told, only rediscovered.
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[Coding Diaries] Using Nodes to Apply Jump Impulse
With the recent runtime fee Unity has imposed on their new pricing scheme, a lot of independent and professional developers are jumping ship due to future issues they foresee regarding the market of their games.
After much deliberation and self-debating, as well as looking up other devs' opinions on the matter, I decided to switch to Unreal to develop my first game for my portfolio.
I thought the transition would essentially mean starting from scratch, thus my hesitation, but I found myself becoming familiar with concepts easier than expected due to my previous learning experiences in Unity. I already knew terms like components, nodes, and object-oriented programming. This helped me focus more on how Unreal's logic behaved when it came to making things move and operate in the gamespace.
My experiences from other disciplines helped shape my workflow in Unreal as well: especially the concept of non-linear editing and establishing variables, so the behavior still works even when certain values change.
Case in point: making the cube, in the image above, jump. A Udemy course tasked me with making it happen through Blueprint, a built-in node system in Unreal. It taught me the basics of Events, getting components, the different switches, and adding values.
Using these basic concepts and a little Googling, this was the node system I established for the cube jump, using the Impulse node to operate it.
There is truth in the benefits of learning holistically, as there are concepts that will carry over to different disciplines and will help ease your brain towards taking in the new information, making the learning process more streamlined. Here's to taking further steps into making my own game!
UPDATE:
https://imgur.com/a/BRhuiRJ
The behavior of the Jump Impulse on each cube is different because of the Blueprint composition of each one. The one on the left has extra nodes that transform the mass value to a vector value, then extract the z, and finally apply that z value into the Input. This makes the cube jump a lot more and launches it into the air.
The one on the right has less nodes, only activating the Velocity Change on the Impulse node and entering a value to the z axis. This results in smaller, “more realistic” jumps. Right now I still don't know why this is the case, when they are basically the same value with extra steps.The only big change I'm seeing that could affect these behaviors is the node that translates the mass into a vector. Because even when the velocity change is off, the cube on the right jumps in the same manner.
~~~Okay let me try to break this down... The tutorial said that the Impulse has its own equation of Mass * Velocity Change, but even with the Vel Change unchecked and the numbers manually typed into the Z axis of the Impulse data pin, it was still different from the left cube. So something must have changed in the data of the various nodes I used on the left.
Even if I never find the answer, I guess this has been a hard lesson to always look for optimized, shorter ways to achieve what you want in the game. Also, a lesson to make the game lighter. Hooboy!
We've been cleaning up some of the more appearance related things to the game while also tinkering with the background mechanics. It's a lot harder to talk about some of this stuff because it's just a mile long wide string of code after code.
Frankly most of the time it's just that for hours on end. It's always nice to have something to show off once in awhile though. Even if it's kind of boring.
Even got the basics of the last SCHUMP section written. Every game needs a fishing mini game after all. I like how my fish came out quite a lot. Although it's not a major section of the game it still feels important to give it my best.
Also got a lot more UI working to help the player know what's going on while they play. Might need to make a full length video soon on everything that we've worked on so far!
Anyway thanks to everyone still following along with this devlogs! I know they aren't very long but I do try and update as best I can.
