Remove Balance Remove Concepts Remove First person Remove Mechanics
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Games Speak through Mechanics, Not Rules

Brand Game Development

Core Engine: If you strip out all the mechanics that put obstacles in your players’ path, what’s left? The core engine is the bare minimum set of mechanics you need to have a functioning game. Mechanics: Games are not very good until you have constraints that make it hard for players to achieve the objective.

Mechanics 130
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In Vampire Hunters you need all of your six hands and a dozen guns to survive

PreMortem.Games

Imagine having to face rampant attack waves like in Vampire Survivors but from a first person point of view. We absolutely love coming up with new ideas and experimenting with crazy concepts.” The key idea was to use the gameplay mechanics from Vampire Survivors in a different genre. “We The solution?

Concepts 104
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Among Us VR dev talks about how to create immersive worlds

Game Analytics

“It’s clear that simulation, as both a genre and concept, is far more popular in VR than in Console and PC games. Being able to actually play as an Impostor or Crewmate in first person was just so appealing to players.” It’s also defined a bit differently. Among Us VR is similar here, too. We started with simple changes.

Dev 91
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5 Levels of Communication through Game Development

Brand Game Development

The following excerpt is from Games Speak through Mechanics, Not Rules (Dev Diary: 04/28/17). If you strip out all the mechanics that put obstacles in your players’ path, what’s left? The core engine is the bare minimum set of mechanics you need to have a functioning game. That’s a mechanic. Chess tells a story.

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Zugzwang as a pole dance upward unto heaven

Radiator Blog

I wanted to try to merge these design sensibilities with my first person gay sex aesthetic, paired with the old tradition of retro grid-based first person CRPGs like Wizardry / Ultima Underworld / Legend of Grimrock where you crawl through dungeons step by step. You play as a sex angel. L of semen for each one.

Code 52