Recommended Posts

One of my ideas for a game, the scope is a bit big, but I think its a cool idea and needs some feedback.

 

Introduction:

“Xeranath” is a sci-fantasy first person shooter on the pc that captures the Unreal Engine’s ability to immerse a player in a hostile world where mystical magic blends with modern weapons.

 

Description:

In Xeranath, you are responsible for an artifact hunter from the old world, the home continent of the humans. On first arrival, you venture out into the world in search of ancient ruins filled with potent artifacts. You are traveling alone, or with your companions, when a noise echos from the woods around you. This is your perception, or ability to detect hidden players with a combination of sound and vision. You turn around, to see a group of enemies, rifles armed, pointed at your head. You have two options, defend yourself with lethal force or defend yourself with a silver tongue. You decide to talk it out, but the bandits decide to rob you dry, and leave without a trace. If you had defended yourself with violence, and been successful, the blood of your enemies turn to energy, which you absorb and save to use another day.

After your first encounter with the other players, you move on to your destination. On arrival, you find and ancient stone ruin, with a magical air about it. Inside this ancient crypts depths, you face off against vicious monster. If you had settled your first bout peacefully, the monsters energy is absorbed into you as you slay them. If not, the essence dissipates into the air, as you have already absorbed another’s blood essence. You fight through the monsters, some in groups, and some alone, until you come to an ancient rooms, filled with coins, statues, cutlery, plates, and any other ornament you could think of, all made of the finest gold. From the coffin in the center, an ancient Mage rises from the coffin, disturbed by your incessant killing of his minions.

The Mage is strong, and packs quite the punch with his various weapons. He easily dodges your attacks, and gains power from 4 statues in the corners of the room. After destroying the statues, the Mage is slower, and you can finally kill him. The Lich’s energy dissipates, and slowly gets absorbed into the ornaments and statues, as they rearrange themselves into their former positions. Upon further inspection of the room, you find, underneath where the lich lay in his sarcophagus, an ancient weapon. You take the weapon, only to find that it is old and rusty, and relatively weak, but something is missing from a slot in the weapon. No matter.

You return to the city, Xeranath, and ponder the other ruins. Rumors go around that nearly no ruin is the same, some are massive temples with master mages lying in their depths, some sprawling cities, home to ancient Elementals and vicious Dragons. Some contain a portal to the other realms, and require that a larger party must go to survive the fights within. But one thing stays constant, the boss will always have a Hollowed Weapon.

In the city, you know of a place to use the essence you have stored up, whether it be Blood Essence or Ancient Essence, and the use of your Hollowed Weapon. First, you combine this essence you stored into a receiver gem, infusing the gem into a Blood Gem or an Ancient Gem. Then, you slot your gem into your Hollowed Weapon, permanently enchanting it with a specific power. Blood weapons are more proficient against Players, but require Blood essence as fuel to keep it at top notch. Ancient Weapons are more proficient against the Monsters of the world, but hence require Ancient Essence to keep the weapon at full power.

You have heard of a different type of weapon, however, known as World Weapons. After some research, you learn that World Weapons require you to capture the soul of a world boss into a special world gem. You know world bosses are especially tough, and the process of killing it to absorb its essence will require assistance. You gather your friends, and venture out to find the elusive world bosses. Some take the form of wondering animals, lost elementals, or adventurous dragons, among other things. After find one and targeting its weak spots, you hold the gem to the dying monster, and its essence is absorbed. You slot your new world gem into Hollowed Weapon, and a new world weapon is born.

World weapons require no essence to run at peak efficiency, as they gain their power from the world. They have no special proficiency against players OR monsters, but specialize getting every single drop of essence out of every kill. The benefits can expedite the process of weapon crafting and recharging, and are regarded highly among crafters. As long as the World weapon gets the last hit, it will surely absorb all the Essence of the kill.

You are moving to another dungeon, as you are jumped again by a band of thieves. You decide to fight them, but they overpower you with skill and numbers. The last strike hits, and your sight fades to darkness. You wake up in the streets of Xeranath, with rags for clothes, and no weapons on you. Thankfully, however, you still retain your essence, as the normal weapons can only absorb essence native to you. If you had been killed by a world weapon, though, all your essence will be lost, whether it was drained into the killer or dissipated into the world.

Thankfully, you have kept some spare hollow weapons in storage, so the journey to rebuild yourself will be much shorter. You regear, acquiring proper clothing to fit your needs, and your spare Hollowed Weapons and Gems, ready to be made into a new weapon. To bad you couldn’t store your enchanted weapons away too.

 

Key Features:

  • Open world PVP and PVE, as well as World Bosses and open Dungeons

  • The use of a perception and stealth system, allowing player with high perception to detect players sneaking up on them, and players with high stealth to sneak up on players.

  • Blood essence and Ancient essence, dropped from players and mobs respectively. Dying does not cause loss in essence, unless killed by a World Weapon.

  • Common Weapons, which are cheap and require no Infusing

  • Enchanted weapon, which require infusing from either a Blood Gem, Ancient Gem, or World Gem.

  • Blood Weapons from blood gem Infusing have specific bonuses that assist in taking down other players, and require the player to infuse more blood essence periodically (like a durability system)

  • Ancient Weapons from ancient gem Infusing have specific bonuses that help with kill monsters (applies to world bosses), and have the same durability system as Blood Weapons with ancient essence instead of blood.

  • World Weapons from world gem Infusing have infinite durability, and steal all essence from mobs. If the player can not hold the essence, it will either go to a party member that also has a world weapon or dissipate into the air.

  • Everything killed drops essence, and the amount of essence increases drastically when killed by a world weapon.

  • The world takes place on a multi biome island, riddled with various dungeons, that recent after a period of time.

  • Dungeons all contain a boss, who always drops a Hollowed Weapon. Some dungeon bosses are found through an instanced portal at the end of the open world dungeon. Instances are open to all, and the instance closes, is down for a period of time, and respawns everything after the boss is killed

  • Rare world bosses roam appropriate biomes, and do not aggro player unless attacked. Very tough and require multiple players to kill them.

  • Everywhere is a PVP zone. While killing players is the only way to get Blood essence, killing young players gives much less than old ones. Killing players also causes them to drop all loot accept enchanted weapons, which get destroyed and become hollowed weapons of the same type.

  • “Age” is determined by how long the player has been alive, and online. Young players have either just joined or just respawned. Young players give much less blood essence, and older ones give more. This is to encourage people not to kill new players randomly, as they will drop next to nothing and give no essence.

  • Weapons consist of melee (swords, polearms, daggers, etc) and Ranged (Rifles, Snipers, Throwing Weapons, Bows, etc).

 

Genre:

The genre is an FPS Sci-Fantasy, mixed with a bit of survival, MMO, and sandbox.

 

Platforms:

Platforms would start with PC, possible console ports as well.

 

Again, if anyone has some feedback, that's great. I'd like you to keep in mind that this is a concept, hence there are no fleshed out mechanics or scripts or art yet. I just want to see if this is something people would want to make or play.

Share this post


Link to post
Share on other sites

I only have a moment to reply right now, so I haven't looked through it in depth, but the first thing that leapt out at me was your "perception and stealth" systems... how do those work?  I can see Stealth perhaps blending the character model into the background or similar, but a perception skill is a tricky one in a first person game, because the player is actually examining the scene with their own eyes.  A player who's character has a low perception skill might still be amazing at seeing things on the screen, whilst at the other end of the scale, how do we guarantee that a player who's character has high perception will notice something?

Share this post


Link to post
Share on other sites
4 hours ago, jbadams said:

I only have a moment to reply right now, so I haven't looked through it in depth, but the first thing that leapt out at me was your "perception and stealth" systems... how do those work?  I can see Stealth perhaps blending the character model into the background or similar, but a perception skill is a tricky one in a first person game, because the player is actually examining the scene with their own eyes.  A player who's character has a low perception skill might still be amazing at seeing things on the screen, whilst at the other end of the scale, how do we guarantee that a player who's character has high perception will notice something?

The idea was two things: the terrain of the playing map would be really dense with foliage, making players harder to see, especially if they are wearing the appropriate camo. The problem with this is it would mean turning off things like grass would need to be disabled to keep things fair, but that can cause really bad lag for not top of the line computers depending on the amount of foliage. The second idea i was thinking of is when a player is "sneaking", they are actively camouflaged into the background, kind of like an invisibility. The perception skill would either reduce the transparency of the sneaking target, obviously making them easier to see, or cause a notification on the perceiving players screen that point to where the player is, kind of like when you take damage in COD and it points with red to the source. 

Of course, these are just ideas, and if anyone else thinks they have an idea go for it. 

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now


  • Forum Statistics

    • Total Topics
      627735
    • Total Posts
      2978854
  • Similar Content

    • By SvetlanaRosemond
      I was reading on this site about the Liskov substitution principle. It states:
      From my understanding this means that whatever methods are in my base class, they must be implemented in my subclass, and according to this page, if you override a method in the base class and it does nothing or throws an exception, you're in violation of the principle.
      Suppose I had an abstract class called Weapon, and the subclasses ReloadableWeapon and Sword. ReloadableWeapon contains a method that's unique to that class, called Reload(). When declaring objects, standard practice is you do it from the abstract class and then subclass, like so:
      Weapon rifle = new ReloadableWeapon(); Weapon sword = new Sword(); If I wanted to use the reload method for a rifle, I could cast it. Based on numerous articles and textbooks, this could lead to problems later on.
      Also, if I have the reload method in the base class Weapon, then Sword would ignore or throw, which is wrong.
      If I wanted to avoid all that, would using the Strategy Pattern be a viable option?
       
      public final Weapon{ private final String name; private final int damage; private final List<AttackStrategy> validactions; private final List<Actions> standardActions; private Weapon(String name, int damage, List<AttackStrategy> standardActions, List<Actions> attacks) { this.name = name; this.damage = damage; standardActions = new ArrayList<Actions>(standardActions); validAttacks = new ArrayList<AttackStrategy>(validActions); } public int attack(String action){} // - Call any actions that are attacks. public void standardAction(String action){} // - Call aim or reload here. public static Weapon Sword(final String name, final damage, final List<AttackStrategy> standardActions, final List<Actions> attacks){ return new Weapon(name, damage, standardActions, attacks); } Attack Interface and Implementation:
      public interface AttackStrategy{ void attack(Enemy enemy); } public class Shoot implements AttackStrategy { public void attack(Enemy enemy){ //code to shoot } } public class Strike implements AttackStrategy { public void attack(Enemy enemy){ //code to strike } } 'm not asking if I've implemented the Strategy Pattern correctly, but rather can I use the pattern when faced with a subclass that has a method unique to that subclass and I don't want to cast it? or in other words, rather than violate the LSP, can I prohibit the use of inheritance and use the Strategy Pattern to implement the require methods?
      Notes:
      The pattern solves my problem in 2 ways:
      I don't have to downcast, I can store my Weapons in a List<Weapon> collection without worrying about checking the type, and then casting Any weapon that isn't Reloadable, won't have the concrete class Reload. This mean no throwing or leaving the method blank  
    • By Blue apple
      Hi, I am Blue Apple a novice developer in the group Cute Software, and I'm here to share with you our new game: "Shotgun Evolved", it's a top-down-shooter where you fight your friends (in the same computer) in a 2 to 4 players arena through different maps and game-modes

      -Controls: Every player got 6 keys (on the keyboard or on the controller), 2 to turn right or left, 2 to walk forward or backward, 1 to shoot and 1 to interact with objects, they are a bit hard to get used to, but this gives you an excuse for losing every time

      -Game-play: The goal is simple, "fight until the other players lose all their lives", you can lose a life in different ways depending on the game-mode (being killed, an opponent capturing an outpost...)

      -Items : There are 3 items, the 'up' item that is thrown by the players when they die which upgrades your shotgun, the 'heal' item that is dropped by bots(pirates,skeletons...) which heals you, and the 'life' item that spawns somewhere on the map every 10 s which gives you an extra life

      -Extra : You can change some settings before starting, like the number of lives, the speed of capture, deactivate players'names/objects/bots and activate "hyper speed" which makes everything two times faster

      Downloads (Windows installer):
      -Alpha 0.1.1: http://www.mediafire.com/file/437o7jap91g8lsp/Shotgun_Evolved__Alpha_0.1.1.exe
      Music by "Yahya" :
      -His youtube-channel : "Yaya drops", https://www.youtube.com/channel/UCmahZvO-m3b2Ib5318SmUHA
      -The game-menu's music : "Andy", https://www.youtube.com/watch?v=5zVMpu9oLnA
      Follow us on:
      -Facebook: https://www.facebook.com/Cute-Software-825245600984214/
      -Twitter: https://twitter.com/0_Blue_Apple_0
      -YouTube: https://www.youtube.com/channel/UCSheG2hkyuo3CF6PI-Ucgpg
      -Web site: https://themixios.wixsite.com/cutesoftware
      And that's all, don't forget to give your opinion and report the bugs, have fun !
    • By Apokalupsis
      Looking to design a learning game that teaches formal, critical thinking. The demographic would be those who have never taken a critical thinking course or a logic course. But I just don't know what to use to create it. I'm a novice in programming but have the motivation to put in the time to learn.
      Starting the user out slow, focusing on argument form and the nature of arguments, how to identify the issue being discussed, identifying and evaluating value and descriptive assumptions, moving on to fallacies, types of evidence and their relative strengths/weaknesses, etc. Maybe adding sections on types of logic (syllogistic, propositional, predicate, modal.  
      More of a focus on text-based learning and interaction, but with images, animations, maybe video (I don't know).  
      Think of it as a modern and more interactive version of Logicola (it's ok if you don't know what that is).
      So it isn't graphics heavy, definitely not 3D or even 2D platform sort of game. Maybe something similar to the JackBox games on Steam, but not entirely sure at this point.
      Thoughts? What are some good possibilities to use for such a project? I'd like to be able to market it, perhaps on Steam, maybe even to education institutions. 
    • By gdarchive
      Over the past few years I have had a growing feeling that videogame storytelling is not what it could be. And the core issue is not in the writing, themes, characters or anything like that; instead, the main problem is with the overall delivery. There is always something that hinders me from truly feeling like I am playing a story. After pondering this on and off for quite some time I have come up with a list of five elements that I think are crucial to get the best kind of interactive narrative.
      The following is my personal view on the subject, and is much more of a manifesto than an attempt at a rigorous scientific theory. That said, I do not think these are just some flimsy rules or the summary of a niche aesthetic. I truly believe that this is the best foundational framework to progress videogame storytelling and a summary of what most people would like out of an interactive narrative.
      Also, it's important to note that all of the elements below are needed. Drop one and the narrative experience will suffer.
      With that out of the way, here goes:
      1) Focus on Storytelling
      This is a really simple point: the game must be, from the ground up, designed to tell a story. It must not be a game about puzzles, stacking gems or shooting moving targets. The game can contain all of these features, but they cannot be the core focus of the experience. The reason for the game to exist must be the wish to immerse the player inside a narrative; no other feature must take precedence over this.
      The reason for this is pretty self-evident. A game that intends to deliver the best possible storytelling must of course focus on this. Several of the problems outlined below directly stem from this element not being taken seriously enough.
      A key aspect to this element is that the story must be somewhat tangible. It must contain characters and settings that can be identified with and there must be some sort of drama. The game's narrative cannot be extremely abstract, too simplistic or lack any interesting, story-related, happenings.
      2) Most of the time is spent playing
      Videogames are an interactive medium and therefore the bulk of the experience must involve some form of interaction. The core of the game should not be about reading or watching cutscenes, it should be about playing. This does not mean that there needs to be continual interaction; there is still room for downtime and it might even be crucial to not be playing constantly.
      The above sounds pretty basic, almost a fundamental part of game design, but it is not that obvious. A common "wisdom" in game design is that choice is king, which Sid Meier's quote "a game is a series of interesting choices" neatly encapsulates. However, I do not think this holds true at all for interactive storytelling. If choices were all that mattered, choose your own adventure books should be the ultimate interaction fiction - they are not. Most celebrated and narrative-focused videogames do not even have any story-related choices at all (The Last of Us is a recent example). Given this, is interaction really that important?
      It sure is, but not for making choices. My view is that the main point of interaction in storytelling is to create a sense of presence, the feeling of being inside the game's world. In order to achieve this, there needs to be a steady flow of active play. If the player remains inactive for longer periods, they will distance themselves from the experience. This is especially true during sections when players feel they ought to be in control. The game must always strive to maintain and strengthen the experience of "being there".
      3) Interactions must make narrative sense
      In order to claim that the player is immersed in a narrative, their actions must be somehow connected to the important happenings. The gameplay must not be of irrelevant, or even marginal, value to the story. There are two major reasons for this.
      First, players must feel as though they are an active part of the story and not just an observer. If none of the important story moments include agency from the player, they become passive participants. If the gameplay is all about matching gems then it does not matter if players spend 99% of their time interacting; they are not part of any important happenings and their actions are thus irrelevant. Gameplay must be foundational to the narrative, not just a side activity while waiting for the next cutscene.
      Second, players must be able to understand their role from their actions. If the player is supposed to be a detective, then this must be evident from the gameplay. A game that requires cutscenes or similar to explain the player's part has failed to tell its story properly.
      4) No repetitive actions
      The core engagement from many games come from mastering a system. The longer time players spend with the game, the better they become at it. In order for this process to work, the player's actions must be repeated over and over. But repetition is not something we want in a well-formed story. Instead, we want activities to only last as long as the pacing requires. The players are not playing to become good at some mechanics, they are playing to be part of an engrossing story. When an activity has played out its role, a game that wants to do proper storytelling must move on.
      Another problem with repetition is that it breaks down the player's imagination. Other media rely on the audience's mind to fill out the blanks for a lot of the story's occurrences. Movies and novels are vague enough to support these kinds of personal interpretations. But if the same actions are repeated over and over, the room for imagination becomes a lot slimmer. Players lose much of the ability to fill gaps and instead get a mechanical view of the narrative.
      This does not mean that the core mechanics must constantly change, it just means that there must be variation on how they are used. Both Limbo and Braid are great examples of this. The basic gameplay can be learned in a minute, but the games still provide constant variation throughout the experience.
      5) No major progression blocks
      In order to keep players inside a narrative, their focus must constantly be on the story happenings. This does not rule out challenges, but it needs to be made sure that an obstacle never consumes all focus. It must be remembered that the players are playing in order to experience a story. If they get stuck at some point, focus fades away from the story, and is instead put on simply progressing. In turn, this leads to the unraveling of the game's underlying mechanics and for players to try and optimize systems. Both of these are problems that can seriously degrade the narrative experience.
      There are three common culprits for this: complex or obscure puzzles, mastery-demanding sections and maze-like environments. All of these are common in games and make it really easy for players to get stuck. Either by not being sure what to do next, or by not having the skills required to continue. Puzzles, mazes and skill-based challenges are not banned, but it is imperative to make sure that they do not hamper the experience. If some section is pulling players away from the story, it needs to go.
      Games that do this
      These five elements all sound pretty obvious. When writing the above I often felt I was pointing out things that were already widespread knowledge. But despite this, very few games incorporate all of the above. This is quite astonishing when you think about it. The elements by themselves are quite common, but the combination of all is incredibly rare.
      The best case for games of pure storytelling seems to be visual novels. But these all fail at element 2; they simply are not very interactive in nature and the player is mostly just a reader. They often also fail at element 3 as they do not give the player much actions related to the story (most are simply played out in a passive manner).
      Action games like Last of Us and Bioshock infinite all fail on elements 4 and 5 (repetition and progression blocks). For larger portions of the game they often do not meet the requirements of element 3 (story related actions) either. It is also frequently the case that much of the story content is delivered in long cutscenes, which means that some do not even manage to fulfill element 2 (that most of the game is played). RPGs do not fare much better as they often contain very repetitive elements. They often also have way too much downtime because of lengthy cutscenes and dialogue.
      Games like Heavy Rain and The Walking Dead come close to feeling like an interactive narrative, but fall flat at element 2. These games are basically just films with interactions slapped on to them. While interaction plays an integral part in the experience it cannot be said to be a driving force. Also, apart from a few instances the gameplay is all about reacting, it does not have have the sort of deliberate planning that other games do. This removes a lot of the engagement that otherwise comes naturally from videogames.
      So what games do fulfill all of these elements? As the requirements of each element are not super specific, fulfillment depends on how one chooses to evaluate. The one that I find that comes closest is Thirty Flights of Loving, but it is slightly problematic because the narrative is so strange and fragmentary. Still, it is by far the game that comes closest to incorporating all elements. Another close one is To The Moon, but it relies way too much on dialog and cutscenes to meet the requirements. Gone Home is also pretty close to fulfilling the elements. However, your actions have little relevance to the core narrative and much of the game is spent reading rather than playing.
      Whether one chooses to see these games as fulfilling the requirements or not, I think they show the path forward. If we want to improve interactive storytelling, these are the sort of places to draw inspiration from. Also, I think it is quite telling that all of these games have gotten both critical and (as far as I know) commercial success. There is clearly a demand and appreciation for these sort of experiences.
      Final Thoughts
      It should be obvious, but I might as well say it: these elements say nothing of the quality of a game. One that meets none of the requirements can still be excellent, but it cannot claim to have fully playable, interactive storytelling as its main concern. Likewise, a game that fulfills all can still be crap. These elements just outline the foundation of a certain kind of experience. An experience that I think is almost non-existent in videogames today.
      I hope that these five simple rules will be helpful for people to evaluate and structure their projects. The sort of videogames that can come out of this thinking is an open question as there is very little done so far. But the games that are close to having all these elements hint at a very wide range of experiences indeed. I have no doubts that this path will be very fruitful to explore.
      Notes
      Another important aspects of interaction that I left out is the ability to plan. I mention it a bit when discussing Walking Dead and Heavy Rain, but it is a worth digging into a little bit deeper. What we want from good gameplay interaction is not just that the player presses a lot of buttons. We want these actions to have some meaning for the future state of the game. When making an input players should be simulating in their minds how they see it turning out. Even if it just happens on a very short time span (eg "need to turn now to get a shot at the incoming asteroid") it makes all the difference as now the player has adapted the input in way that never happens in a purely reactionary game. The question of what is deemed repetitive is quite interesting to discuss. For instance, a game like Dear Esther only has the player walking or looking, which does not offer much variety. But since the scenery is constantly changing, few would call the game repetitive. Some games can also offer really complex and varied range of actions, but if the player is tasked to perform these constantly in similar situations, they quickly get repetitive. I think is fair to say that repetition is mostly an asset problem. Making a non-repetitive game using limited asset counts is probably not possible. This also means that a proper storytelling game is bound to be asset heavy. Here are some other games that I feel are close to fulfilling all elements: The Path, Journey, Everyday the Same Dream, Dinner Date, Imortall and Kentucky Route Zero. Whether they succeed or not is a bit up to interpretation, as all are a bit borderline. Still all of these are well worth one's attention. This also concludes the list of all games I can think of that have, or at least are close to having, all five of these elements. Links
      http://frictionalgames.blogspot.se/2012/08/the-self-presence-and-storytelling.html Here is some more information on how repetition and challenge destroy the imaginative parts of games and make them seem more mechanical.
      http://blog.ihobo.com/2013/08/the-interactivity-of-non-interactive-media.html This is a nice overview on how many storytelling games give the player no meaningful choices at all.
      http://frictionalgames.blogspot.se/2013/07/thoughts-on-last-of-us.html The Last of Us is the big storytelling game of 2013. Here is a collection of thoughts on what can be learned from it.
      http://en.wikipedia.org/wiki/Visual_novel Visual Novels are not to be confused with Interactive Fiction, which is another name for text adventure games.
      Thirty Flights of Loving This game is played from start to finish and has a very interesting usages of scenes and cuts.
      To The Moon This is basically an rpg but with all of the fighting taken out. It is interesting how much emotion that can be gotten from simple pixel graphics.
      Gone Home This game is actually a bit similar to To The Moon in that it takes an established genre and cuts away anything not to do with telling a story. A narrative emerge by simply exploring an environment.
       
      This article was originally published on the Frictional Games blog and is republished with kind permission from the original author Thomas Grip.
    • By snacktime
      So thought I'd throw this out here.
      The game is multiplayer, kind of an mmo/moba hybrid.  The setting is low fantasy and I'm trying to keep magic subdued.  There is a strong emphasis on vehicles and siege type weapons, and naval combat is a large part of the game.
      Right now I'm focusing on naval combat, that's where most of the functionality has been fleshed out.  Currently I have the equivalent of ballistas and catapults, I call them bolt thowers and lobbers right now.  Probably also worth mentioning that you build your own ships.  You get a choice of hulls that are premade, and then you can place weapons/armor, etc..  All of it crafted.
      SO anyways current naval combat is lobbers do damage to the ship itself primarily, plus some small splash damage to weapons.  Bolt throwers do high damage vs mounted weapons, low damage to the ship structure itself.  
      But what I want is to have more support type effects.  Something similar to Eve online logistics.  Right now the best idea I have is crystals.  I've started to run with it as it's the best I have, but it's in the early stages.  So now ships have sails and a crystal drive for power.  You can be using one or the other not both.  Crystals drives move slower but can go backwards (solves a practical issue). 
      On the combat side I'm starting to try and flesh out the idea of a crystal 'turret'.  Since I want magic subdued, these turrets for the most part just provide buffs/debuffs.  I'm also thinking that I need classes for combat ships, to constrain ships to either having the normal weapons or the crystal turret, support vs damage dealer concept.
      I also started to kind of run with some other ideas around crystals.  The game is made up of regions/zones, and I'm thinking of having the origin of crystals being they fall from the sky,  maybe some neighbor planets collided resulting in all these crystal fragments that occasionally fall.  So if I create a shower of valuable crystals in an area, that should be a good way to get pvp action going. This also feeds into doing more with the treasure hunting mechanic I wanted, so oceans over time would build up more and more crystals.  And when a new region is discovered, it could have a lot of them. 
      In any case I'm not entirely certain about the crystal idea so was looking for some more feedback.  I am certain about a lot of the underlying mechanics and abilities, so I'm pushing forward using crystals.  If I change gears it won't effect much of the implementation. 
      I think the biggest part of what I'm not certain about is can I subdue the magical feeling of crystals.  Like if I can come up with some science behind why they work like they do.   For instance maybe the core of the planet is made of some material that gives power to the crystals.  Or if the crystals drop from the sky, their power could come from how close to the sun they got (if they originated from say another broken planet on the other side of the sun).  Anything to avoid the whole idea of 'magic crystal'.
       
  • Popular Now