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About Demiurgic_Amon

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  1. Well, a few of us know what I'm talking about when I say "most of us like to keep the memories we made playing a cheap survival-horror game made by rockstar back in 2005 in the depths of our minds." Manhunt. Yes, I just brought it up. But for the purposes of addressing why there aren't other games like it in the modern day. The cinema world has much to offer in the way of extreme content and it seems to be commercially successful, even if there is no ulterior motive to it, in contrast. For the purposes of this post, I'll be bringing up a game of my own envisioning as well as comparing manhunt to the one and only srpski film. There are a lot in common with these two, and I'm not just talking about the fact that both have plots that revolve around a snuff film. You have insane yet weak directors (L. Starkweather and V. Vukmir), disgusting acts of murder that are motivated in large part by vigilante justice ("Strike the bitch!"/Innocentz massacre), family annihilation ("a big happy serbian family/Innocentz) and, of course, a big, fat, almost inhuman "right hand" to the director who is used for some things I'm just flat out not going to talk about here (Rasha and Pigsy). And, of course, the actual redeeming value for both is hotly debated, with these works often being despised for their content and a frequent argument is made that any form of deeper understanding is mutually exclusive with any form of extreme violence or perversion. At the same time, you have my redesigned concept of Somnion: Darkest Dreams. While I'm unabashedly going to say that this game does not only contain extreme acts, but has portions that consist exclusively of them, there is a heavy meaning behind most of these deplorable atrocities. The dismemberment and...worse of Chechen immigrants to "deny their passage to paradise" speaks to the offender's disgust of Islam, for example. It's meant to disgust not just the player, but anybody this Islamophobe couldn't kill himself, thus rooting it in a reason to happen. The reverse syncretic imagery and graphic depictions of vigilante hate mobs? All meant for the player to understand, in much the same way one would understand Schindler's list or Night of Fog. Not enjoy, but strictly understand. A large part of extreme media, meaningful or not, is to get the consumer to be reviled at themselves on some level. Whether it be for simply watching it or a theoretical game example of cruelty punishment, the effect is the same. That being said, extreme (note: not "exploitation") games don't really seem to exist outside of a pair of old survival-horror games and my conceptual sandbox RPG, so I'm wondering about whether there is going to be such a thing as an "extreme gaming genre" and whether the current lack of such games might hold negative things in store for the release of my own project. Care to share your thoughts?
  2. Demiurgic_Amon

    Bad writer need help with sci-fi story

    Space gangster stories are not common as anything aside from a subplot. Both SW and ME have prominent examples (shadow-broker/black suns). That being said, if gangs in space is the main drive of the game, it could be quite original.
  3.   This does make complete sense anyways. I do have a bit of a tendency to overthink things.
  4. Given that most of my threads about concept games usually feature someone saying "make a game already!", I've decided to do just that (one's portfolio only gets so far with concepts, after all).   That being said, I have two engines already on a computer suitable for work.   Option one is Unity. Option two is UE4. Part of the advice I'd like this time is which engine is easier to learn how to use and to actually make a simple game on?   As for the game itself, it is either going to be:    a breakout ripoff, possibly featuring a large beetle as the "ball". a game in which the player must cause all but 1 out of four racecars to crash within the race. There are pre-determined scenes that are switched between on a timer. The player has a limited amount of time to cause a crash by triggering environmental hazards at the racers; these hazards are dependent on the current scene. The player is scored based off of how many hazards it took for one car to crash (the more hazards the higher the score), how late in the race the crashes were caused, how innocuous the crashes looked, and how late in the race the car was as it crashed. The player is not scored if they caused the designated car to crash or if any of the cars did not crash by the end of the race. A rail shooter, featuring three characters: a British explorer, an Ottoman hunter, and a Sudanese soldier. each has their own special abilities and weapons to use against the various enemy forces in a level (ranging from bushwackers to wild animals to demons), such as the explorer's elephant gun and survey scope, the hunter's bow and dual pistols, and the soldier's broadsword and talismans. While the player is waiting in between levels, they may spend money earned from defeating enemies to upgrade their abilities and passive stats. Special boss battles allow the player to gain access to new abilities.   The genres are all listed in terms of difficulty to create. It's actually a planned set of three games; whichever seems to be the easiest will be my first.   It's all something I literally just thought of, but simple games like the aforementioned breakout clone where the player bounces a Goliath Beetle into a wall really don't need months of forethought.   Other major questions:   Distribution: I've heard Kongregate and IndieGoGo have a couple caveats regarding distribution (namely that the former is small and the latter is restrictive). I'd also like to know of other good distributors for simple indie games. Time: I plan to have one game out in about 6 months. This may seem unrealistic for some of the concepts, though. I'd like a very basic run-down on how long it takes to create something like the games i just mentioned. Cost: I plan on using largely pre-made assets for these games, so I'd like budget estimates so I can plan which assets I have to buy or create.
  5. While the title may be outright clickbait/flamebait, It's best if you hear me out on this one.   (it is important to note that the game I will describe is an "earn-your-fun" type of game. Rather than giving the player all of it's great aspects, entertainment value, and enjoyment, it requires the player to think hard, plan out in advance, adapt their plan when sudden changes occur, and to search out solutions on their own, even if the game gives them one, in order to have fun playing this game. In short, this is decidedly a hardcore game, though unlike a certain more recent "earn-your-fun" RPG series this game is far from masochistic; it instead has the player learn through discovery and planning than through trial and error. As opposed to being difficult, it is merely long and requires much effort and involvement.)   Imagine there is a Sandbox RPG. It does not have a class system and is open-skilled, but only allows the player to reach high ratings in certain skills. Imagine that this game also requires players to have very specialized equipment and item set ups to make any practical use of that build. Now imagine that, as a counterbalance to its intricate customization system, the game's combat is entirely reliant on situational advantage; every build only suits one scenario or encounter and is functional (but certainly not ideal) in about 3 others, but in literally every other possible situation (due to the game procedurally generating most of its environments) said build becomes grossly ineffective.   On top of this, the game allows you to play as a vast breadth of characters. Some are major and have builds tailored to their identities, but this focuses more on the main character and recruit able minor NPCs. In this case, while the player is allowed to reset builds for the main and minor characters without cost, they must then re-spec their skills and have a new set of equipment and support items.    This is what the title refers to. Because deconstructing extant items for their materials can only go so far as the materials and special effects are also made just for specific builds, the player must often buy/craft new materials, equipment, and Items. Doing so is obviously a very laborious process, and a costly one at that. It is also far more difficult later in the game because of the customization system: more special effects and methods of adding special effects are unlocked as the game goes on, which (again) encourages very specific build choices.    As a result, this conceptual game requires players to plan their builds and weigh consequences when making changes or upgrades. The player often also has to chose between a slow, grinding process that may yield better results (and thus fun) in the long run or a simpler action that may or may not be completely effective. (it is also worth noting this carries into the story sequences and combat in addition to just customization; "bad or worse" choices figure heavily as a theme in this game, so it makes sense that the customization mechanic features it for thematic significance)   An open-skilled game system that appears to have options but really uses choices has been a design obsession of mine for a while. One constant flaw I find in this design is pitching it: it is not an easy system to describe fully in a short sentence. That being said (assuming you haven't been driven off by the title), I've gotten positive remarks from serious gamer and designer alike regarding this type of game system. Would anyone here want to play a game that used this system as it's core system?  I've started drawing up concepts for just such a game (and some LNs that take place in the same universe that will actually establish said fiction), so please, speak your minds. :)
  6. Story-driven horror, eh? I'm in!   I do haunting stories good. Mostly on the cerebral/psychological end of the spectrum, but I like horror fiction that relies on its story.   I'm also a game designer, but I have more experience with RPG games than with Survival Horror. That being said, I'm looking to join a team to gain experience, so I could learn. I can also compose music.   My contact Information:   Steam: profile is gordonallen4   Email: gordonallen4@gmail.com
  7. Demiurgic_Amon

    Story/Dialogue Writer needed.

    The Pitch has got me hooked. Also, Ed, Edd n' Eddy FTW!   I am a great writer of stories involving black comedy (which this seems like it has a lot of). Plus, I do stories involving catastrophes well.   My contact Information:   Email: gordonallen4@gmail.com
  8. Well, you pretty much nailed the the dream-world/real-world dynamic on the head there. What you do in the real world does unlock new areas of the dream world, and you can change aspects of the real world (namely electronics or people's behavior for the most part) by performing actions in the dream world.   As for the target audience, a concept change in the novels has rendered the entire Somnion universe (Both LNs and the game) to be more teen-oriented. That being said, most of the main characters are tweens and early teens.   For the size of the game world...I really don't know if downsizing the world area would remove anything from the experience or not. It's a good decision to ponder. That being said, the 13 hardcoded square miles are just the real world plus the starting areas of the dream world zones combined. the dream world zones are completely seperate from one-another; the 43 square miles are all the zones plus the real world added up.
  9. The funding is not going to come directly from novels actually.    It actually shares the same universe as the novels I mentioned, though Somnion: Darkest Dreams is actually a side story to the Somnion light novel series (despite taking place at around the same time).
  10. Demiurgic_Amon

    Game idea, I need some feedback

    I agree with Norman. If you can do it, do it!
  11. Demiurgic_Amon

    the dreaded "escort" quest

    Well, what about a reverse escort quest?   in that, you would have to rely on a more powerful character who is escorting you through an area full of extremely powerful enemies or environmental hazards. It's something I'd like to see more of.
  12.   Then I'll try to control the hype. I did know that I wouldn't get setpiece moments through using procedural generation as well. Plus, Somnion isn't going to advertise itself on scope.   Well, thanks for the marketing strategy! Is there anything else you would like to point out?    I may have been vague on this, but the game does not use one giant 43 square-mile sandbox as it's game world; Somnion uses several small sandboxes that, when added up, equal 43 square miles of space (including indoor and underground areas).   On the asset front, we won't be using many visual assets. Coding and scripting and maybe the occasional stock sound effect are probably all we would need from my perspective.
  13. (I was out while all of you replied, so I didn't have a chance to reply individually).       It's actually not going to be my first project. I actually plan on getting this developed either through a studio I joined, a studio I found, or simply outsourcing it to another studio (the game is actually part of a larger franchise that starts with a series of original English-language light novels that I am currently writing. If it does get famous, at any time, I could have an adaption made).   That being said, it's still a far-off project, though unlike every other time I actually have a plan to get this made.   In term of budget estimation you are way too optimist, as says Tangletail.    Budget: for a game with the graphical fidelity of FFXI on a high-definition emulator, a total size (from all the game worlds added up) about 43 square miles big (30 of said 43 square miles is procedurally generated), partial voice acting (mostly for main characters and special scenes), and a customization and character progression system leagues deeper than any TES title, is this a realistic estimate for how much the game will cost to develop? For your expectaction count at least a medium sized team (so 20-30 people) multiply it by an average salary of 2500 euros (average salary of a programmer) to have a (really) rough estimation of the cost, by month, of your game. And this is only the salary of the people, without taking into account the tools and the marketing. So yes, $100,000 may be a little light.   Day/Night cycle: I believe a common complaint for this idea is that some will feel as if this is like playing two games at once. Even though I plan to elaborate on this later, do any of you think this way currently? This is a good idea, in my opinion. If you manage to make the feel of day and night really different and not just a loss of luminosity, it is an interesting feature.   Dialogue system: simply put, Is in interesting or refreshing? Interesting? Not much, how can you talk about thing not related to environment? Refreshing, not really. The dialog mechanic is not as important as the actual dialog quality (except if you have a good AI which can talk inteligently (use different dialog lines depending on what happened, his status, player's reputation, etc...)   game world: created due to budget constraints, the game world is not what makes this game a sandbox RPG (that would be the mechanical system, to be discussed in a future post). that being said, does anyone like this hub-network idea? If you have a well crafted hub, and the other area are some kind of dungeon, it can excuse the lower quality of the procedural area.    was something to vague or just left out? point it out. I would like to hear more about the combat system.     The dialogue system actually can include characters (for example: You hover your cursor over the immediate conversation partner and three button icons show up. Press X to flatter. Press B to get serious. Press Y to compliment).   Also, the combat system is going to be in a later thread. I split this one up to avoid information overload for both myself and my readers.   Well, in light of the comments regarding the budget, I do plan to increase it, though it is staying under 900,000$. Costs can be saved through using pre-made assets; given that Unity is going to be used to create Somnion, it would be easy to find these due to that engine's community and level of support.
  14. Mind telling me the specific reason?
  15. I had expected to use procedurally generated content extensively for my game, and the hierarchical templates make sense, given that the game uses Unity as it's engine.   That being said, Anybody willing to pitch in regarding the general idea of the game or the budget? or perhaps the gameplay?
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