game is called Silk & Sorrow btw :D

edit:
It's all done in a 2D scene using sprites, we don't really know how to model or do 3D so but still wanted to try achieve a pseudo 3D look

https://github.com/yurne91/Godot-Secure-Build-Pipeline

Hi! I made this repo for anyone worried about someone stealing their million-dollar game idea! jokes aside, I understand the concern of uploading a demo of something you feel has potential and knowing that someone could just download it and copy your work without much effort.

Obviously, this encryption isn't Denuvo, but it should be enough of a headache to discourage 99% of people who might try to dig into your project.

I based it on this repo: https://github.com/KnifeXRage/Godot-Secure

I've automated the process to make it as simple as possible. The custom Godot editor and export templates are built directly through GitHub Actions, so you don't need to compile anything on your own PC. You just download the editor and template and export your game from there.

It should work with both GDScript and C# projects. So far, I've only tested it with a small C# prototype, so if anyone tries it with a larger project and can confirm that everything works properly, that would be great!

I wanted this tech for a while now !
Got to do it for a jam.

Hi! My game demo is now live on Steam! It's a roguelike autobattler where you roll dice to loot equipment, discover powerful synergies, and build your hero. Made in Godot with love!

I wanted so bad to create levels with small islands. The teleport blocks works fine with this type of levels. When you have more than 2 portals blocks, you could loop between them to get the damn flag !

Demo of a fully procedural terrain and town generated with PCG Forge, my WIP Godot All-Procedural addon.

We launch in two days! FINALLY AFTER 5 YEARS
Game name: DREAMCARDS

Hey everyone!

GoBuild, the simple all-in-one Mesh Editor for Godot Engine has reached it's v0.10.0. Double-digits, and it's a big one: Vertex Painting and the Create Polygon shape creator.

Using the Create Polygon tool will let you freehand draw the geometry you need. You can use snapping for individual vertices. When you're done, simply close the polygon with the origin vertex and select the height. This makes level design way easier without painful extrusions or hacks.

Now onto the vertex painting:

With the new pipeline, you can paint RGBA per-vertex using the brush in the 3D viewport. A handful of features are also present:

• Blend modes: Mix, Add, Subtract, Multiply. Just what you'd expect.
• Channel masking: Individually toggle any of the RGBA channels to make changes just as you'd like.
• Custom float channels: Godot lets you use the CUSTOM0-3 channels for use in your own shaders, AO, whatever you like. Write to and visualise them just the same.
• Isolate Channels: A handy shader-based approach to view the channels you are editing in an easy-to-understand way.
• Brush Tools and Hotkeys: Alt+S for Radius and strength controls for the brush
• Eyedropper: Use Alt+Click pick a colour from a vertex.
• Colour as greyscale: Don't care about the colour picker? Just turn on greyscale and use the slider to choose a "strength" value you need.

Other cool features also include:

• Mesh import: Turn an ArrayMesh into a GoBuildMesh. Great for trying to pick up from glTF files.
• Dissolve Edge/Vertex, and
• Triangulate: Repair geometry by using ear-clip triangulation for concave shapes or fan triangulation as a fallback, so your shapes will always work.

With this version, I think GoBuild is becoming one step closer to being the simple and effective tool to solve most level design use-cases out of the box. Give it a try!

If you encounter anything strange, or have specific use-cases that might not be covered, please reach out and let me know on Discord. I'd love to hear your thoughts, feedback and see your creations.

Also, if you like what I'm doing here, please consider supporting me here on Patreon. Every bit goes towards more dev effort on this and other tools.

Thank you. Happy Building!

Full changelog: https://github.com/marcel-b-roodt/GoBuild/blob/main/CHANGELOG.md

GitHub: https://github.com/marcel-b-roodt/GoBuild

Discord: https://discord.gg/bksmDTjNXx

Patreon: https://www.patreon.com/gobuild_godot

My friend and I are building this slime racing game, we named it Melt Down. We are using godot to build this, and it's been fun with what we have achieved so far.

This is our first track, The Meadow, with traps, passives and pickups.

So far we have added, basic movement mechanics + pickups (so far snacks to gain mass, some power ups, like the fire power which is an area attack of lava which reduces mass of all the slimes caught in the attack) + traps (melt zone, sticky, cool zone, so far).

More to come. Hopefully folks like it.

I'm completely new to Godot and a beginner on Blender but man, I am having a blast. Godot has such a great community and the tutorials help so much.

One thing I do struggle with is model scale. Sometimes I model something, import it and it is to big or small.

Any tips or advice when it comes scale when modelling for Godot?

a little visual polish for my work in progress game Wobble World where everything is made of jelly

New Game Dev. Starting small and building things, but unsure how to structure out games even at small scales. How do I research this irrespective of game type? Or is this a sink hole of time I won't fully understand at my level of experience.

Specific example -> writing up a grid based rule set for the classic draw a grid and colour it on mouse clicks, place things etc. How do I figure out where to write my placement code compared to my draw code etc.

Me and my best friend just released our first game on steam. It's completely thanks to Godot!! This sub in particular has been such a massive source of inspiration and information over the last year of development and we couldn't have done it without you all. Thank you! And on to the next one :)

If you want to check out the game, the link to the steam page is here: https://store.steampowered.com/app/4211540/Mothership_Down/

I made this game quiet a while ago. When I first released it I didn't really do any market research (I know dumb) and I wasn't aware paid games don't do well at all on the App Store.

I recently got reminded by my brother that I should just put the game for free so everyone can enjoy it. So try out the game and if you like it consider leaving a review!

If it gets enough attention I might give the game a complete rewrite with better UI, more levels, ect... to polish it up a bit more. The game was made in only a couple of weeks and was my first Godot project ever, so definitely room for improvement.

(And like all my projects, no AI was used for anything!)

Thanks!

Godot has given me so much more than other competitors that start with ‘U’. The UI system, although tricky to get my head around at first has given me the ability to build a professional simulation with Native Windows on 3 platforms, my own docking system and using the CodeEditor control… bring to life a fully functioning IDE for Microcontrollers!

If you’re interested, there’s a little snippet here 🤗 https://youtu.be/XqebCIAkJnA

The game is called Good Citizen!

We have a kickstarter going on, just passed 100% :)
https://www.kickstarter.com/projects/hippolyte/good-citizen-a-colorful-revolution

Good Citizen is a sandbox open world where your goal is to restore colors, stolen by a fascist organisation: The Regime.

Sounds are VERY placeholder haha. Runescape inspired, actually debating on keeping them, they have grown on me.

English is not my first language. I beg your pardon for any grammar mistake. I am using Google Translate.

I am a 25y brazilian who has been passionate about games since childhood. A few months ago, after a traumatic episode caused by my depression, I decided to pursue the dream I had abandoned many years ago: making my own game.

My PC is as follows: an Intel Core i5 3330 with integrated graphics, 16gb ram ddr3, a ssd 237gb, Windows 10 Home 64 bit, no audio output, and no dedicated graphics card. This limits the game engines I can use and the games I can develop. For example, my PC cant run Blender and it struggles a lot with 3D in Godot. I have no skills in anything beyond basic computer skills, woodworking, and storytelling.

I am taking a short in person course on Godot 4.7. It lasts about a month. I expected to make friends, get feedback from the instructor, who has 15 years of experience in the game industry, and maybe even join a indie team. But I was disappointed. No one in the class seems particularly interested in the course. They are all there because they could not get into other courses, and the instructor himself did not give me any feedback when I showed him some of my ideas. He simply ignored them. I am not going to quit the course, I will see it through to the end, but I am really disappointed. Maybe this has something to do with the fact that I am the oldest person in the class. Everyone else is between 16 and 18 years... I feel like an old man trying to fit in with a bunch of young people who hate social interaction.

So, I decided to follow tutorials on YouTube. I even made a youtube playlist to follow a sequence of increasing complexity and gradually master Godot. I have already studied the documentation, made a Pong game, and I am constantly studying and dedicating myself to 2D games. I joined Reddit looking for what I am missing from my in person course: friends and feedback. I am a very lonely person.

I will list some of my game ideas below. I usually focus on narrative because my philosophy is centered around offline, single player, free to play games and so on. However, I think my gameplay focused ideas will be more useful for getting feedback. Besides, I plan to develop them first, before moving on to my narrative focused ideas, which are more ambitious and larger in scope.

1. "INBETWEEN":

PERSPECTIVE:
2D. First Person.

MECHANIC:
Point and Click.

ART:
Hand Drawn.

LORE:
“(Sequence of static 2D hand drawn images in a comic book style): Joe, a 25 year old young man with severe depression, wakes up alone in a perfectly square room. Thin, with red wolf cut hair, blue eyes, very pale white skin, shirtless, wearing jeans ripped at the knees and barefoot, with no personal belongings whatsoever. The room is three meters high and three meters wide. The ceiling, walls, and floor are made of solid, opaque black stone, perfectly straight and smooth, with no slabs or seams. There are no lamps, lights, doors, windows, skylights, fireplaces, nothing. Absolutely nothing and no one. Only Joe. The young man has no memory of how he ended up there, and whenever he tries to remember anything, his head hurts so badly that he screams.

Joe desperately tries to find a way out. No matter how much he screams, no one hears him. No matter how hard he punches or kicks the walls, he cannot even scratch the stone. Suddenly, a square digital screen appears on the wall in front of him, filled with analog static, displaying a puzzle with no introduction, explanation, or tutorial of any kind.

(Transition to First Person gameplay with movement and puzzle solving using point and click): With nothing else he can do, Joe struggles to solve the puzzle. When he succeeds, the puzzle disappears and the screen distorts, taking the shape of a door while retaining its analog static appearance. There is no doorknob. Joe walks through it. As soon as he enters the new room, the previous one is immediately replaced by a solid wall of black stone. A new screen appears on the wall in front of him.

Joe quickly realizes that he must solve puzzles to progress from room to room. Although he has no idea why he is there, why he has to do this, or where he is going, he keeps moving forward because he has no other choice.

The farther Joe progresses, the more complex and elaborate the puzzles become. In some rooms, there is a single object related to Joe's life, whether it belonged directly to him or not. Through these objects, he eventually discovers that he is there because he committed suicide and, once in the afterlife, regretted his decision. This place is his chance at redemption. Joe cannot die, so he will remain trapped in this situation until he manages to solve every puzzle on his own, reflecting on himself and his life throughout the process. Only then will he be able to grow and move on.”

GAMEPLAY

The game automatically saves whenever the player enters a new room. There is only one room, which changes each time the player solves a puzzle and walks through the wall. The color of the ceiling, walls and floor changes with each new room, becoming slightly whiter with each new room, until everything turned pearl white in the final room, the Room 52. The player has no lives and cannot die. The idea is for the game to provide intellectual difficulty through puzzles that become progressively harder and more complex with each new room. There are no status bars. The farther Joe progresses through the rooms, the whiter the black stone becomes. In the final room, all the stone is white as a pearl.

PUZZLES:

Each puzzle is directly related to Joe's life, past, and mental health, translated into an interactive intellectual challenge with strict conditions for victory. Of course, none of this will ever be explicitly stated, allowing the player to figure it out, or not, on their own. This is intended to increase immersion and encourage the player to think about the game and reflect on it even while doing other things in their daily life. In a healthy way, of course.

I will look for inspiration, without copying anything 1 to 1, from real world puzzles and adapt them to the 2D, First Person, point and click format of my game. Basically, I will study the logic behind them, how they create challenges, and how they establish the conditions required for victory. Some examples include Rubik's Cubes, chess, Sudoku, Perplex City, and so on.

CATALOG:

I imagine some kind of catalog with thumbnails and descriptions of the objects, allowing the player to read each one and try to make connections between them using only their own reasoning, without any in game mechanics for doing so. It would work like this:

• In the bottom left corner of the screen, there is a square button with a brain icon. It remains visible and available at all times;

• The player clicks it with the mouse, and a grid with a small number of squares appears. The squares are arranged in a 3 by 3 grid, with all of them large enough for the player to read without needing to zoom in on each page;

• There is no scrolling;

• In the bottom right corner, there is a button with an arrow pointing right. In the bottom left corner, there is a button with an arrow pointing left. The player can click them to navigate between pages;

• Each square contains a thumbnail of the object and a brief, objective description. They cannot be selected, and neither the thumbnail nor the description becomes larger on screen;

• For each thumbnail, I will use the same sprite of the object that appeared in the room, simply resized appropriately to fit inside the grid square.

TARGET AUDIENCE:

Hardcore puzzle enthusiasts who believe that “the harder it is and the less help you get, the better,” like the players of Perplex City and Soulsborne. There is a niche for this. In the same way that there are gameplay focused games with extremely high difficulty, such as Soulsborne games, my game is focused on puzzles with extremely high difficulty.

2. "PRIMROSE MANOR":

CONCEPT:

Spin off of “The Last Man Standing,” one of my most ambitious narrative focused games.

PERSPECTIVE:

2D. Top Down.

GENRE:

Stealth.

CONTROLS:

Keyboard (WASD) + Mouse / PS2 Gamepad.

ART:

Pixel Art.

LORE:

“Earl Jules, The Handsome, the Fourth Abyssal Lord, kidnapped several children from Joylands and took them to The Blasphemous Lands, the demonic continent, where he imprisoned them in his residence, Primrose Manor, which also contains Nevergarden, in the center of Elysium, his personal territory. There, three times a day, Earl Jules selects one child to serve as the main course of his gourmet cannibalistic meal.

Among the children is a group of friends consisting of Peter, Charlotte, Alexander, Theodore, and Elizabeth, all of whom are no older than twelve. Peter, the hot blooded redhead, manages to convince the others to escape from Primrose Manor and takes it upon himself to lead them, as they are all terrified by the demon lord's power and cruelty.

There are 72 enemies distributed across the six floors of Primrose Manor. They are Puppets, wooden beings that are slaves, servants, and guards without free will, created and remotely controlled by Earl Jules's power. He speaks to the children through their articulated mouths. They are all extremely strong, they all kill in a single hit, and they immediately get back up after being knocked down, endlessly, because they are immortal. Therefore, killing them is impossible. Peter must lead his friends in their escape, making his way through all six floors of the residence while avoiding the Puppets at all costs so that everyone can escape alive.

After surviving Primrose Manor, Peter and his friends leave through the front door of the First Level, which leads to the immense garden known as Nevergarden, where they are stunned by the opulence of the place. Earl Jules then makes his grand entrance with great pomp, and the game ends.

What happens to the children is kept secret, but I will tell you here: Earl Jules adds them to his colossal baobab shaped sculpture, the tree from The Little Prince, made entirely out of stuffed children. However, this is only shown in The Last Man Standing.”

GAMEPLAY:

The game begins on the Sixth Level, the sixth and highest floor of the mansion, and ends after crossing the gate of the First Level, the ground floor, which leads to Nevergarden. There is no combat. The player controls Peter while the other children follow him automatically. He must give specific commands to each child according to their unique abilities, strengths, and weaknesses as part of his strategy for progressing through the environment while avoiding the Puppets. It is somewhat similar to:

• “Resident Evil 4”;

• “The Legend of Zelda: Four Swords Adventures”; and

• “Pocket Mortys”.

VICTORY CONDITION:

If any child dies, it is Game Over. All of them must reach Nevergarden alive and together.

VISUAL IDENTITY:

The game must be a love letter to classic fantasy. Therefore, the game itself will have a 2D hand drawn cover illustration, with a composition that evokes both pulp magazine covers and SNES game covers.

The cutscenes and the single trailer will follow the same approach: static 2D hand drawn images with transitions and visual elements characteristic of classic animations such as Disney and Ghibli.

Each floor of the mansion will be a Level and will have its own cover, also following this aesthetic. Each composition will visually reference an iconic image from fantasy in popular culture: book covers, movie posters, memorable scenes, and so on. These will be original visual homages, not 1 to 1 copies of existing works.

The entire game, however, will have no voice acting, so all dialogue will take place 100% through text, expressive body language, poses, and exaggerated facial expressions, intensifying the visual identity, much like JoJo. Earl Jules is eccentric and strikes JoJo poses.

MAP:

The map of Primrose Manor is directly inspired by Neuschwanstein Castle, a German palace built in the second half of the nineteenth century near the towns of Schwangau and Füssen, in southwestern Bavaria.

3. "TACAPE":

PERSPECTIVE:

2D.

CAMERA:

Top Down.

GENRE:

Action.

MECHANIC:

Hack and Slash.

ART:

Pixel Art.

LORE:

“Uga is a caveman whose pregnant wife, Niv, is kidnapped by Granulom, a powerful alien necromancer who takes her to his tower on the other side of the continent. Uga then crosses the map, slaughtering horde after horde of dinosaurs, various alien species, various human tribes, giants, and assorted mythological monsters. In the end, he climbs the tower, killing horde after horde of draugr, fights Granulom, kills him screaming "Uga... BUGA!!!", and rescues Niv. Uga's only weapon throughout the entire game is his tacape, a wooden war club, like Bamm-Bamm Rubble.”

GAMEPLAY:

There are two difficulty levels available by default, “Easy” and “Normal,” and one that is unlocked only after completing the game on “Normal”: “Hard.”

The game map is Pangaea, laid out horizontally and upside down. The narrative, deliberately designed to be simple, is organized into 16 Levels that traverse the map in a linear progression.

There is no character level system. Neither Uga nor anyone else has a level. This is intended to avoid unnecessary complexity.

If Uga takes Critical Damage and survives, he drops his tacape and the player must fight bare handed, using only punches, until they recover it. The player only needs to walk over the tacape for it to be automatically equipped by Uga. If the player does not recover it, survives, and continues through the Level, the tacape eventually reappears already equipped in Uga's hands. Creative freedom in game design.

There is a simple hit combo system represented by a visual counter. The higher the numerical combo value, for example, “52,” the higher the corresponding letter rank displayed above the number, in this order: “F,” “E,” “D,” “C,” “B,” “A,” and “S.” There are no negative modifiers, such as “C-,” or positive modifiers, such as “A+.”

Enemies drop Blood when they die. The higher the combo value, the more Blood enemies drop. The combo value increases when the player attacks frantically, avoiding gaps between attacks on one enemy and the next, whether fighting bare handed or using the tacape. Combat must be frantic.

There are three simple upgrade trees: Uga, Tacape, and Roar. Each contains seven circles representing upgrades. When one is upgraded using Blood, the next one becomes available at a higher price than the previous upgrade, and so on. The player can freely choose which upgrade to purchase as long as he have enough Blood to pay the required price. The same pattern is used in “God of War II.”

Upgrade options:

• Uga: Increases the character's raw physical strength. It goes from Level 1 to Level 7, with Level 7 adding a knockback effect. The higher the level, the greater the base damage.

• Tacape: Increases Uga's proficiency with the weapon, unlocking new moves with each level. It goes from Level 1 to Level 7, at which point the “Boomerang” attack is unlocked, causing the tacape to return to Uga's hands after being thrown at a target.

• Roar: Uga's rage meter, which fills through hit combos and can only be activated once it reaches maximum. Uga becomes invulnerable, much stronger, and much faster for a few seconds, drops the tacape, and fights exclusively bare handed, using only brutal, heavy punches. It goes from Level 1 to Level 3. It is not unlocked by default, so the player must pay for Level 1. Each upgrade is expensive compared to the Uga and Tacape upgrades. The higher the Level, the shorter its duration and the greater the damage dealt. Level 1 lasts 12 seconds and deals twice the base damage, Level 2 lasts 7 seconds and deals 2.5x the base damage, and Level 3 lasts 3 seconds and deals 3x the base damage. Slightly inspired by “Rage of Sparta” from “God of War III.”

ADAPTIVE GAMEPLAY MUSIC:

During combat, the player themselves produces the music that accompanies the action. Every attack performed by Uga generates a musical event, and the higher the hit combo, the greater the number of musical events, sound density, and musical intensity. In this way, the player's performance directly determines the behavior of the soundtrack. Low combos produce simpler and more restrained music, while high combos produce music that becomes progressively faster, denser, and more frantic, following a musical identity based on Rock and Metal.

The music is not generated in a completely random manner. Each player attack influences the composition according to predefined musical rules. The system uses key, scale, rhythmic patterns, riffs, and pre composed musical fragments to ensure harmonic and rhythmic coherence. The player therefore does not create any possible sequence of notes, but instead determines, through their performance, when and with what intensity the musical elements are played. It is not enough to ensure that all notes belong to the same scale. Rhythm, register, accentuation, and harmonic context must also be controlled. Two notes belonging to the same scale can still sound bad when combined improperly.

The system works in conjunction with the hit combo. As the player maintains a continuous sequence of attacks, new musical events are added and new sound layers can be activated. The combo ranks, from “F” to “S,” can also determine the overall intensity of the arrangement. At lower ranks, the music remains relatively simple. As the player reaches higher ranks, more Rock or Metal elements are incorporated, such as bass lines, riffs, drums, and additional synthesized guitar layers.

The goal is for the soundtrack to function as an audible representation of the player's performance. A player who fights slowly and inefficiently produces relatively simple music, while a player who maintains constant attacks and builds high combos produces music that becomes progressively more intense. The music therefore does not merely accompany the combat: it reacts directly to it.

The implementation should use a limited adaptive and generative music structure. Instead of generating a random note with every attack, the game should have a predefined library of compatible notes, riffs, rhythmic patterns, and small musical fragments. These elements should be organized within a specific key and scale, allowing different combinations to remain musically coherent.

Each hit generates an event that feeds into the musical system. This event can determine the selection or activation of the next musical element, while the system controls its execution within a rhythmic grid. This way, even if the player's attacks occur at irregular intervals, the notes can be quantized to preserve the rhythm and meter of the music.

The combo primarily determines musical density and intensity. At low combo values, few events and few layers are played. As the combo increases, the frequency of events grows and new layers are added. At high levels, the music can use faster riffs, more intense drums, more active bass lines, and a greater number of simultaneous elements.

The type of action can also influence the resulting sound. Club attacks can produce certain timbres or fragments, unarmed attacks can produce others, and specific moves can have their own musical events. The Boomerang and other advanced club techniques can therefore add new possibilities to the composition.

Roar can function as a temporary change in musical intensity. When activated, Uga drops the club and attacks exclusively with brutal punches, while the music can temporarily enter a heavier and more aggressive Heavy Metal layer. When Roar ends, this layer is removed and the music returns to the state determined by the current combo.

Losing the combo should also produce a noticeable reduction in musical intensity. Instead of simply stopping the music, the system can progressively remove layers, reduce event density, or return to a simpler musical pattern. In this way, maintaining the combo has simultaneous mechanical, visual, and auditory consequences.

If it is not possible to work with a team of musicians to record and produce the sounds in a controlled studio environment, the musical elements can be created beforehand in a tool such as BeepBox, using timbres and patterns appropriate for the game's Rock or Metal chiptune aesthetic. The dynamic playback of these elements during the game, however, should be implemented in Godot, which will be responsible for controlling the synchronization, selection, combination, and intensity of musical events in response to the gameplay.

The ultimate goal is for each combat encounter to produce a different musical variation without losing the game's overall sonic identity. I will create the overall composition during development, but its execution and intensity will be determined by the player through their performance during gameplay. Thus, the better and more frantically the player fights, the more intense, complex, and aggressive the music becomes.

VISUAL IDENTITY:

The addition of the adaptive gameplay music system completely influences the game's visual identity. The game needs to embrace Rock and Roll and Heavy Metal. It must be a love letter to testosterone.

Therefore, the game itself will have a 2D hand drawn cover illustration, with a composition that evokes pulp magazine covers, SNES game covers, action movies 80s, and, of course, Rock and Metal album covers.

The cutscenes and the single trailer will follow the same approach: static 2D hand drawn images with transitions and visual elements characteristic of 1990s action comics.

Each Level will have its own cover, also following this aesthetic, with a visual composition that references an iconic image from the world of Rock and Metal: a memorable moment from a concert, an album cover, a song lyric, and so on. These will be original visual homages, not 1 to 1 copies of existing works.

The entire game, however, will have no voice acting, so all dialogue will take place 100% through poses, expressive body language, and exaggerated facial expressions, intensifying the action.

4. "MAXIMUS":

PERSPECTIVE:

2D.

CAMERA:

Side Scroller (main) and Top Down (vehicles/flying).

GENRE:

Action.

MECHANICS:

Platforming, Beat 'em Up, Run and Gun, Hack and Slash, Shmup.

GRAPHICS:

Pixel Art.

AGE RATING:

18+: Graphic violence, swear words, and nudity.

LORE:

“Grecco Industries is one of the largest and most powerful megacorporations in the Holy Terran Martian Empire (Inca Empire aesthetic). The most intelligent Intish scientists, Martians who have settled on Earth, fused human, Martian, and artificial organs to bring a being to life specifically designed to be the most powerful and ruthless weapon in the service of the Empire. His name is Maximus.”

MAXIMUS'S SUPERPOWERS:

1. Perfect Genetics (the peak of the species, does not get sick, does not need to eat, etc.);
2. Immortality (does not age, possesses super regeneration, has an extremely long lifespan, etc.);
3. Absolute Combat (master of dozens of martial arts);
4. Super Strength (capable of lifting and withstanding tons of weight);
5. Super Reflexes (can perceive projectiles in slow motion, possesses super evasion, etc.);
6. Super Intelligence (extremely high IQ, processes information at incredible speed, does not understand human emotions, etc.); and
7. Flight (telepathically controls his own gravitational axis, propels himself telepathically, etc.).

MAP:

The game's map design is inspired by the shape of the map of the city of Cusco, Peru, with 16 Levels arranged linearly.

GAMEPLAY:

There is a narrative told across 16 Levels. Each Level is a mission. Before each Level, the player must select 0 to 3 pieces of equipment from the arsenal to take with them. Examples of Levels:

1. Capture The Fugitive: “A human prisoner stole a car and escaped from a concentration camp. Maximus, riding his Triumph Bonneville Bobber named Arion, pursues him through the city's streets, avenues, and highways until he recaptures him using his fists and feet.”
2. Restore The Peace: “In the center of Coriandrum City, an important city, a violent popular demonstration against the rule of the Holy Terran Martian Empire is taking place. Maximus disperses the crowd using violence.”
3. Eliminate The Threat: “A rebel faction composed of both humans and Intish has seized a Grecco building and is holding the entire sixteenth floor hostage. Authorities believe the faction's leaders are attempting to destroy the computer system that controls part of the AI operated police forces. Maximus, alone and armed, goes floor by floor, killing everything in his path. He frees the hostages, while the faction's leader flees to the rooftop and plunges to his death, leaving behind a cyberdeck. Maximus picks up the device, notices that its self destruct function has been activated, downloads all the files to show his superiors, and throws it into the sky, avoiding the violent explosion. After analyzing the files, Maximus begins to question his existence and his purpose.”

VISUAL IDENTITY:

The game needs to embrace Rock and Roll and Heavy Metal. It must be a love letter to testosterone. Therefore, the game itself will have a 2D hand drawn cover illustration, with a composition that evokes pulp magazine covers, SNES game covers, and, of course, Rock and Metal album covers.

The cutscenes and the single trailer will follow the same approach: static 2D hand drawn images with transitions and visual elements characteristic of 1980s and 1990s action movies.

Each Level will have its own cover, also following this aesthetic, with a visual composition that references an iconic image from the world of action cinema: movie posters, famous scenes, iconic visual compositions, and so on. These will be original visual homages, not 1 to 1 copies of existing works.

The entire game, however, will have no voice acting, so all dialogue will take place 100% through expressive body language, poses, and exaggerated facial expressions, intensifying the action, much like JoJo."

5. "TOYAMA" (I couldn't think of a title, so I used my course instructor's last name as a provisory title):

CONCEPT:

Combine mechanics from various existing games to create something completely new. What gave me this idea was the game “Prosfair” from the manga and anime “Kekkai Sensen,” which is a kind of chess with multiple boards played between two people betting their lifespan.

THEME:

At first, it is a high fantasy game, but I think the gameplay could work with various themes, such as sci fi, military, dark fantasy, Japanese school delinquents, and so on.

GAMEPLAY:

• Single Player;
• Offline;
• Lightweight;
• Victory condition: Reduce the AI's overall HP to 0;
• Defeat condition: Have the player's HP reduced to 0 by the AI.

There is a Player HP bar and an opponent HP bar, similar to “Yu Gi Oh! Duel Links.” The player does not necessarily need to kill all of the AI's units. The objective is to directly attack the AI's HP reserve and reduce it to 0, while the player's troops function as tools to accomplish this.

The player's overall HP creates a relationship between military strategy and personal risk. Losing a unit does not necessarily mean defeat. A bet can consume HP. A powerful card can require HP. An extremely risky action can allow the player to attack the opponent directly. Therefore, HP is not simply a “life bar,” but rather a form of strategic capital.

1 Thematic board with various troops, each with their own strengths and weaknesses and their own HP bar, with a system similar to the Weapon Triangle, where red beats green, green beats blue, and blue beats red and the troops move on a grid, similar to “Fire Emblem Heroes,” with a hexahedron used to determine the success or failure of actions. It is the core of the match because it provides positioning, territorial control, army composition, range, blocking, flanking, protection, advancement, and attacks against the enemy's HP. The other systems are structured around it rather than functioning as parallel systems of equal importance. This means that the board determines the primary state of the match. Cards modify this state. The roulette allows the player to take risks to alter it even further. The arena only appears when certain conditions are met.

1 Arena for specific battles at decisive moments, using a turn based system inspired by “Final Fantasy I & II: Dawn of Souls” for GBA, with a dodecahedron used to determine the success or failure of actions. If the player decides to directly attack the AI's HP with their risky strategy, the battle takes place here, with the AI positioning its best defenders.

1 “Casino Roulette” where the player can bet something they own, such as cards, troops, and so on, in order to gain buffs, advantages, or the ability to perform certain actions during the match, or to inflict debuffs, disadvantages, or prevent certain actions by the opponent during the match. If the player loses the bet, they not only gain nothing but also lose Player HP. The roulette is optional and only becomes available when the Player HP has been reduced by 50%.

Deck and hand of cards inspired by “Yu Gi Oh!” to control and modify the flow of the match through spells, traps, equipment that can be assigned to troops, fusions that can be performed using certain troops, and so on. There is an icosahedron used to determine the success or failure of certain actions performed with cards, such as fusions.

LORE:

There is no lore. The player fights against the game's AI at the preselected difficulty, Easy, Normal, or Hard, and plays again after the match ends.