How to present old gameplay in a new way – explained by the creators of One Day More, Loretta, and Who’s Lila?

Contents:

• Ilya Sushchin — solo developer, author of Who’s Lila?
• Evgeny Simonov and Alexander Grigoriev — game designers of One Day More
• Yakov Butuzov — solo developer, creator of House of Mermaids and Loretta
• Ivan Zyuzkov — author of the HARDDRIVE project
• Vadim Rybka — game designer of SPACERIFT: Arcanum System
• Evgeny Bochkarev — author of the Garðaríki project
• Roman Digital Retro Dimensions Bakunov - solo developer, author of The Last Murder

There's a saying that everything in art has already been invented and tried. This assertion often applies to game design as well. At first glance, it seems that modern developers can only combine existing ideas and techniques, analyze the work of their colleagues, and give them a new context to change the player's perception. But is this really true? Game design, like any other art, continues to evolve, opening up new horizons and opportunities for creativity. Innovations in technology, changing audience preferences, and multidisciplinary approaches create space for fresh ideas and unique concepts. It's important to remember that each game is more than just a set of mechanics, but a profound experience that can be reimagined and adapted to modern realities. Thus, game design remains a dynamic and evolving field, where new ideas can emerge even from established concepts.

We interviewed game designers and independent developers to find out how familiar gameplay can be reimagined. The responses were varied, and that's precisely what makes them valuable. Each essay reflects personal experience, accumulated knowledge, and methods that the developers are willing to share. This is a valuable resource for anyone interested in innovation in the gaming industry and striving to create unique content.

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Creating games in a new reality: opinions of the authors of Pioneer, Atom RPG and Lords of Ravage

The creators of the popular games Pioneer, Atom RPG, and Lords of Ravage share their experiences and approaches to game development in the modern gaming landscape. They discuss how the requirements for games have changed and what new technologies and tools help realize their ideas. Each of these games represents a unique example of player interaction and immersion, making them an important part of the discussion about the future of the gaming industry. The choice of genres, the creation of a compelling story, and the work with graphics all play a key role in successful game development. The developers emphasize the importance of adapting to new conditions and player needs, as well as the need for constant learning and the implementation of innovative solutions in the game creation process.

Ilya Sushchin - solo developer, author of Who’s Lila?

The modern video game market is truly oversaturated, which makes the task of indie developers to attract audience attention especially difficult. Competing with large gaming corporations is almost impossible. However, the indie sector has a significant advantage: originality. While AAA companies often rely on proven formulas guaranteed to please consumers, independent developers boldly experiment. Unique gameplay, visual style, and an original approach to storytelling are the key factors that attract and retain audiences for indie projects. Thus, indie games can offer players fresh ideas and unusual experiences, which sets them apart from the crowd.

In this essay, I will share my experience and the game design process for the project "Who's Lila?" My task was to create unique gameplay based on the concept of "L.A. Noire in reverse." The result is a fusion of point-and-click and visual novel genres, with a key feature: the ability to control the character's facial expressions. Instead of traditional text options in dialogue, players are offered the opportunity to manipulate individual parts of the protagonist's face. At the same time, the built-in neural network analyzes the received emotions, which adds depth and originality to the gameplay. Thus, unique gameplay is formed from seemingly simple elements, creating a new perception of interaction mechanics in games.

Warning! The following text contains minor spoilers.

The project stands out for its unique gameplay with expectations, both in the storyline and in the gameplay. At key moments in the story, the familiar fixed camera unexpectedly switches to a first-person perspective, which creates a new perception of the events. Particularly noteworthy are the scenes with Detective Yu, where the traditional interaction with the save menu takes on a fresh perspective. The player can access the detective only by loading a special save file. This solution is not only original but also logical from a plot perspective, as Yu is located in a metaspace, outside the time frame of the main narrative. This approach enhances immersion in the game and makes each session unique.

An important aspect of the game is the presence of extensive content beyond the main storyline. Additional DLC, which must be launched simultaneously with the game, as well as numerous documents and websites accessible via secret links, significantly impact the gameplay experience. The introduction of external materials into certain storylines may seem radical. However, for some players, this became a barrier, forcing them to pause the game. However, those who managed to navigate the additional materials gained a unique opportunity to discover new storylines, secret endings, and feel like true detectives. Numerous positive reviews confirm that this feeling has become one of the game's main advantages.

In conclusion, it should be emphasized that the "originality" of gameplay is a subjective perception of the player, and objectively new mechanics are often irrelevant. Therefore, you should not neglect proven game mechanics. Their combinations can create completely new gaming experiences, and unexpected plot twists can lead to unique and memorable moments. The use of classic gameplay elements in combination with innovative approaches can significantly improve the player's experience and make the game more appealing.

Evgeny Simonov and Alexander Grigoriev — game designers of One Day More

One Day More is Watt Studio's debut game in the puzzle platformer genre. In this article, we'll discuss the game's key features and analyze the logic behind its key decisions.

We drew inspiration from games like Unravel and Gris, aiming to create a sense of flow in gameplay. We also focused on developing original mechanics for gameplay and puzzles. Key mechanics include the protagonist's ability to tilt the world, move large objects and parts of environments, and skateboard on ceilings. These ideas open up opportunities for creating unique and interesting interactions with the game world. However, such mechanics can feel unfamiliar and cause confusion or frustration for players. We realized that optimizing gameplay, developing mechanics, and integrating our own setting significantly improves the overall gaming experience.

One of the unique features of our game is that the main character's primary mode of transportation is skateboarding, rather than traditional walking. We believe this approach is one of the best breakthroughs in game design. The skateboard has become an integral part of the main character's character, lending her a distinctive style and significantly impacting gameplay. This method of movement makes gameplay more dynamic and fluid, allowing players to more easily immerse themselves in a state of flow and maximize their enjoyment.

While the inclusion of a skateboard in the game had a positive impact on gameplay, it did not become a fully-fledged means of transportation. This could lead to disappointment for players whose expectations were not met, especially if they were counting on familiar interactions with a skateboard, such as performing tricks. Our goal was to develop a calm game with relaxing gameplay that promotes immersion in a state of flow. Taking all aspects into account, creating a "relaxation mechanic" was a real challenge for us.

Hannah's movement speed was one of the main challenges during development. In early prototypes, she moved too quickly, which disrupted the desired balance of sensations. To achieve the desired effect, we had to slow her movement down. This change, in turn, created difficulties in long sections of the levels, which, at a slow speed, became boring rather than relaxing. We addressed this issue by adding a variety of gameplay elements: cute events, Easter eggs, and side quests, making Hannah's journey more engaging and interesting for players.

The games Unravel and Gris feature mini-stories that players can discover by deviating from the main route and showing initiative. This concept was initially implemented through hidden achievements located throughout levels and was later expanded with the introduction of the "good deeds" mechanic. "Good deeds" are optional, but they significantly enrich the gameplay experience and increase the opportunities for interaction with the environment. To complete these tasks and find hidden achievements, the player must utilize all the game's core mechanics. This not only allows for a new perspective on the gameplay but also maintains balance, preventing overload. Thus, performing good deeds becomes an integral part of exploring the game world and gaining new experiences.

Good deeds weren't a feature we introduced into One Day More right away. We started implementing them into levels late in development and first tested them in the demo. These elements significantly diversified the gameplay and increased replayability. Achievements, in turn, expanded the game world, allowing players to earn rewards for interacting with levels and discovering new details about the characters' lives. Thus, good deeds and achievements enrich the gaming experience, encouraging players to explore and delve into the story.

These decisions contributed to the creation of a unique world with engaging gameplay, original visuals, and memorable characters.

Yakov Butuzov — solo developer, creator of "House of the Mermaids" and Loretta

My games are story-driven. These are visual novels and interactive quests, filled with atmosphere but with limited gameplay. Gameplay, although this may seem strange for the gaming industry, takes a secondary place and serves only as a tool that helps immerse the player deeper into the story I strive to tell. Focusing on narrative allows for unique emotional experiences and makes players consider the depth of the plot.

I am an independent developer who enjoys creating games at my own discretion. There is a huge number of games in the world, and the audience is quite diverse. Every game has a right to exist, because everyone has different preferences and tastes. My goal is to develop projects that will be interesting not only to me but also to other players.

I'm not into roguelikes, platformers, or three-in-one games. "row", but I prefer strategy games. The need for new gameplay in strategy games remains an open question. For example, if Victoria 3 suddenly introduced card mechanics, many fans might feel disappointed. Personally, I would be unhappy with such a change. But is there really anything fundamentally new in the gaming industry? This question is difficult to answer.

We always want to see the familiar, but in a new light. Attracting audiences to new ideas is difficult, although possible. Creating something completely new is much more difficult. However, you can always take familiar gameplay and supplement it with the elements that are missing. It is important to understand that updating familiar concepts can attract attention and generate interest among players, creating a unique experience based on already known foundations.

Currently, the agenda in game development education continues to change, and its content is becoming increasingly blurred. Although I have not received formal training in this field, it seems to me that the basis of any game project is to convey the emotions and sensations of the player. It's important to think about the specific perception we want to create in the audience. After that, we can focus on developing game mechanics that will achieve this goal. The emotional connection between the player and the game is a key aspect of a successful game development project, and understanding this process is crucial for developers.

My latest game, Loretta, is a psychological thriller set in 1947 America. The plot centers on a humiliated and betrayed housewife, trapped in an unhappy marriage and facing a difficult fate. She decides to murder her husband, and the further development of events depends on the player's choices. The plot can take the form of a series of bloody murders or devolve into a tangled web of lies. Loretta offers a deep dive into the psychological aspects of the characters and their motivations, which makes the gameplay engaging and tense.

From the very beginning, I decided that it was possible to kill any important character in the game, and that this would inevitably have consequences. I've always missed this element in quests. The only game I remember is Harvester from 1996, which left a deep impression on me. Killing or attempting to kill a character has both immediate consequences and changes the events at the end of the game, making the player's choice more meaningful and engaging.

I organized the story chapters as the main character's memories, preceded by small abstract puzzles related to the main plot. The mechanics of these puzzles are simple enough for players to master quickly. I drew inspiration from The Caretaker - Everywhere at the End of Time, transforming a simple jigsaw puzzle into an important narrative and aesthetic element of the game. Each memory puzzle is unique, providing variety and preventing players from getting bored.

I'm nearing completion on Loretta and am already beginning to conceptualize my next project, for which I plan to create a unique core gameplay experience. Story-driven games that rely on a wealth of content are expensive and often quick to complete. I'm also a bit tired of working in the same format. I'm eager to create something new and am ready for a challenge. Although I don't want to guess ahead, I assume that the next project will be a survival horror game.

Currently, I actively play both old and new games of various genres. My goal is to build a vast library of game mechanics and ideas, which will allow me to create something unique and interesting. I believe this method is effective for developing creativity and generating fresh concepts in the gaming industry.

To update familiar gameplay, it is important to consider the desires of the audience and your own resources, such as development time. It is necessary to rely on personal preferences and study the experience of other developers. Special effects, shaders, particles, as well as visual and audio elements, including controller vibration, play an important role. These aspects add dynamism to each interaction, making it more engaging and original.

Focusing on one aspect of the mechanics allows you to better understand its functionality and improve the quality of your work. It is important to create a unique atmosphere that inspires and promotes productivity. Instead of striving for constant change, it is worth paying attention to details and aesthetics that help create a comfortable working environment. This will not only increase efficiency but also make the process more enjoyable and purposeful.

Ivan Zyuzkov — author of the HARDDRIVE project

I am a professional motion designer, and at some point I decided to expand my horizons by trying my hand at a related field — game development. As a child, I dreamed of creating games, but the real understanding that I could realize this dream came to me relatively recently. Now I am actively studying game development to combine my design skills with the new opportunities offered by the gaming industry.

I decided to develop a simple shooter in which the player controls a turret on wheels that shoots at enemies. This will be a starter project that does not require complex ideas. However, the question of enemies became important to me. I did not want to use standard images such as demons or soldiers. Inspiration came when I saw the pencil with which I drew the turret. I imagined pencils with legs and machine guns—it turned out to be quite funny. As I progressed, I started adding other enemies: books, pens, pencil sharpeners. Ultimately, I decided to create a game in which the past and the future collide, using simple objects familiar from everyday life. This approach not only adds originality to the project, but also allows players to see familiar things in a new light.

The gameplay remains simple—run and shoot through crowds of enemies. The game's visual style, designed as a side- or overhead perspective, has been reimagined, adding an element of depth typical of fighting games. It's worth noting that shooters with this type of camera angle are extremely rare, and this solution feels quite original. Instead of a traditional turret, the player now controls a hard drive equipped with a blaster and a solar battery. This device can be activated and charged, creating an analogue of magical energy in the game.

When the battery level is low, the character begins to slow down and takes increased damage. The battery is necessary for performing alternate, charged attacks, which deal significantly more damage. This adds an element of strategy to the gameplay: the player can decide to use powerful attacks, but there is a risk of running out of charge. If the battery runs out, the hero may not have time to take cover from return fire and die. Battery management becomes a key aspect of survival and successful completion of objectives in the game.

To diversify the gameplay, I implemented boosters: transistors, capacitors, and microchips that are dropped by enemies. These boosters provide temporary effects, such as infinite ammo, increased rate of fire, and other improvements. With luck, you can complete a level simply by rapidly eliminating enemies and destroying everything in your path.

During the game, the hero undergoes transformations, which adds a unique touch to the gameplay. This idea is borrowed from Quake 4, but I expanded its capabilities. Each transformation not only changes the character's appearance but also significantly impacts gameplay. For example, switching from a quadrupedal to a bipedal stance increases the hero's health and battery charge. The user interface has also been updated and the available weapons have been changed, adding variety and depth to the gameplay.

Creating a universe inhabited by familiar objects representing different eras has proven to be a fascinating undertaking. Life in this universe is not as simple as it first appears. The world of HARDDRIVE resembles a sheet of paper divided into two sides: one is the kingdom of books and pencils, and the other is electronic cities built from microchips and circuit boards. Each element of this world reflects the unique aspects of its era, creating an intriguing interplay between tradition and modern technology.

The kingdom of books is a metaphor for the past, where the class structure is clearly defined. In this society, books act as noble knights and scholars, symbolizing high culture and knowledge. Quills represent the aristocracy, absorbed in luxury and status. Pencils, in contrast, represent the common people, the peasants who perform hard work and often become victims of conflict. They are a kind of cannon fodder in any war, reflecting social injustice and inequality.

At the head of the kingdom is King B.—the wisest and most powerful book. The kingdom is divided into biomes, like lines on a notebook page. At the very bottom are caves where pencil miners toil, extracting minerals, gold, and silver to create pens. Above are forests, where trees with pencil trunks grow and are inhabited by pencil farmers who care for nature. In the deserts are rifts containing a single resource—crystals of incredible strength. In the center of the kingdom is Metropolis—a large city with factories where pencils are cut from trees, animated, and distributed to various jobs. This unique kingdom represents the harmonious coexistence of nature and industry, where each element plays an important role in the overall ecosystem.

On the other side is a world of electronic technology, filled with capacitors, transistors, and microchips. It is controlled by a supercomputer—an artificial intelligence that assigns tasks to all electronic entities. This world represents the future and reflects the ideas of futuristic socialism. Its inhabitants are flash drives and hard drives that perceive books and pencils as archaisms and mistakes. The conflict between these two worlds has been going on for a long time, and although the past cannot exist without the future, in the end only one always remains.

I did not strive to develop new game mechanics. Instead, I focused on giving a new context to existing gameplay. Thanks to the unique setting and well-developed world of the game, familiar elements began to be perceived fresh and interesting.

Vadim Rybka — game designer of SPACERIFT: Arcanum System

In today's world, creating new game mechanics is becoming an increasingly difficult task. Many ideas have already been implemented, and originality is becoming scarce. In this situation, the most effective approach is to use familiar concepts and reimagine them in a new, more engaging context. This not only maintains player interest but also draws attention to the project through a unique approach to familiar elements.

Every game has a variety of quests, and it's important to communicate them effectively to the player. Most often, this is achieved through message boards or triggers that initiate a quest when interacted with. For example, in The Witcher 3, many quests begin with dialogue with NPCs or notifications on message boards. Meanwhile, in GTA 5, players receive quests through phone calls. Regardless of how they initiate them, each quest requires the player to visit a specific location, where they will see a cutscene that reveals the essence of the quest. This creates an interactive and engaging gameplay experience, allowing players to become more immersed in the story and world of the game.

In SPACERIFT: Arcanum System, contracts arrive as messages in the in-game chat. You can go about your business while browsing the list of available contracts. After accepting a contract, simply plot a route for the autopilot through the mission description window or click the button in the contract summary located on the left side of the screen. Now you can complete the mission without paying attention to your current location.

Autopilot is a key gameplay mechanic, ensuring comfortable movement throughout the world of SPACERIFT. We focused on player convenience, striving to make traveling through the open world as enjoyable as possible. Many gamers experience fatigue from long drives in open worlds, as happens in the GTA series, where missions can be located at opposite ends of the map. This often forces players to cross great distances, which can distract from the gameplay itself. At SPACERIFT, we strive to avoid such inconveniences by offering more efficient and comfortable ways to travel.

For me, the most frustrating part of the series was GTA: San Andreas. The developers, eager to surprise players, created a vast game environment, distributing tasks so that the player could appreciate all their efforts. However, at some point, I found myself unfinished business in one part of the world, while the main story was already taking me to the opposite edge of the map. This creates a sense of disconnect between the main story and the side missions, which can distract from the overall gameplay.

In SPACERIFT: Arcanum System, you always have a choice. You can manually control your spaceship using an intuitive controller that is not overloaded with unnecessary functions, such as starting the engine or activating the fuel pump. Or you can set a route for the autopilot and do other things, like brewing tea, while your ship navigates through various sectors, avoiding obstacles. This allows you to delve deeper into the mission, explore the contents of the hold, or simply enjoy the beauty of the surrounding space. SPACERIFT: Arcanum System offers a unique combination of freedom of choice and engaging gameplay, making every journey through the galaxy unforgettable.

Given the presence of autopilot mechanics, we can consider applying it to the radial menu. This menu is another tool designed to improve user experience. Autopilot can significantly improve interaction with the radial menu, allowing players to focus on the game rather than managing the interface.

When developing SPACERIFT: Arcanum System, we focused on creating an intuitive interface that ensures easy interaction with the game world. We sought to avoid complex key combinations and illogical mechanics that could distract from the gameplay. Players familiar with games like Escape From Tarkov and the tactical sims Arma understand the importance of comfortable and effective controls. In these games, control skills require significant effort, sometimes forcing the player to assume awkward positions to perform actions at critical moments. For example, when your weapon jams and you need to press several keys simultaneously, it can be a decisive moment in combat, especially under enemy fire. At SPACERIFT: Arcanum System, we want you to focus on strategy and decision-making, not confusing key combinations.

The game differs from the real world in that you can't physically interact with the surrounding objects. In reality, inspecting a weapon and removing a stuck bullet can be accomplished in a single action, whereas in the game, these processes require additional steps. To simplify interaction, we've implemented a radial menu that allows you to perform necessary actions with a single click. For example, to pick up loot dropped by an enemy, simply aim the crosshair at the item, hold down the F button, and select "Pick up Container." Your ship will automatically activate autopilot and take the loot to safety. Why make things more difficult for the player? We strive to provide a comfortable gaming experience where interaction is easy and intuitive, which is especially important for players who expect high-quality and engaging content from new games.

Interacting with other players in space simulators is becoming increasingly complex due to their sheer scale. However, in SPACERIFT, this process is simplified. No matter where your friend is, you can easily invite them to a group from your friends list, which is automatically synced with your Steam account. You don't have to waste time searching for each other in the vastness of space. If you don't have any friends, you can invite any player nearby and start a contract. SPACERIFT makes interacting with other players simple and convenient, significantly improving the gaming experience.

We follow a classic approach to developing game locations, without trying to keep up with modern trends. The limited size of game sectors, dictated by the capabilities of historical technologies, allows for a richer and more interesting game world. This not only keeps the player's attention but also helps optimize performance. Our goal is to provide an engaging gaming experience while staying true to traditional design methods.

At this point, it's difficult to fully evaluate the validity of our decisions, but we're already seeing the community actively interact during events and group missions. Despite our approach to creating the game world, players often express dissatisfaction with long flights. Therefore, we plan to introduce new mechanics, such as warp jumps, to improve the gameplay and make it more comfortable for players.

In conclusion, it's worth noting the voice acting of NPCs. In recent years, games have become less expressive. Developers strive to please a wide audience, resulting in the loss of the uniqueness of the game world. When creating the text for the voice actors, we paid special attention to making the characters seem alive and believable. Therefore, even if you encounter the most intelligent NPC in SPACERIFT, you'll likely hear a few rude words. This adds realism to the game and helps immerse players in the atmosphere.

SPACERIFT is a game about hard-working astronauts, not mindless entertainment. We draw inspiration from successful projects like The Witcher 3, GTA 5, and Escape From Tarkov, and strive to follow their example. One player noted: "It's hard to stay calm when you're taking enemy fire while flying in zero gravity." Our game offers a unique experience where every action matters, and players can truly immerse themselves in the exciting world of space battles.

Evgeny Bochkarev — author of the Garðaríki project

The concept for Garðaríki was developed quickly. Having approved the core game mechanics, we focused on creating the leveling system. Discussions at this stage were reminiscent of Krylov's fable: every idea sparked debate and suggested new directions. A key aspect was creating a balanced system that would motivate players, allowing them to develop their skills and strategy. We strove to ensure the leveling process was engaging and varied, offering players various paths for developing their characters. Thus, Gardariki promises not only engaging gameplay but also a deep progression system that will keep players engaged throughout the game.

The swan soars into the clouds, its majestic figure soaring through the heavens. It is a symbol of grace and freedom, inspiring many. Inspired by the swan's beauty, one can see in it a desire to soar and explore new horizons. Its flight reminds us of the importance of pursuing our goals and dreams, overcoming obstacles. The swan, with its nobility and elegance, becomes the embodiment of hope and fortitude, making it a favorite subject for artists and poets. In every movement he makes, there is a desire for freedom, which makes you think about your own ambitions and desires.

The Crayfish moves backward, while the Pike tries to drag him into the water. This metaphor symbolizes the contradictory actions and desires, where one is trying to escape danger, and the other, on the contrary, is pulling towards itself. Studying such natural phenomena can help better understand the dynamics of relationships and struggles in the wild.

During the discussion, we discovered that the three participants had radically different opinions on how the player should develop their character. After thorough debate and analysis of various approaches, we came to the consensus that there are several key aspects that can cause dissatisfaction among players.

• grinding for the sake of grinding;
• skill trees with different branches;
• character level in general;
• yesterday's pizza the next morning.

Our team decided to get rid of four things. After that, we started considering what we really like. This process was easier because there were far fewer things that interested us.

• the "point" system from Vampire: The Masquerade;
• the skill-parameter system from the Might & Magic series;
• the ability to learn any skill.

We discussed how all of this could be implemented in one place and what steps would need to be taken to achieve this. As a result, we developed the system we want to present. We can't say for sure whether players will like it, but at this stage, we are positive about it.

The character will have several parameters, which can be classified into three main groups: physical, social, and mental characteristics. Each of these groups plays an important role in shaping the character's uniqueness and influences how they interact with the world around them. Physical parameters determine strength, agility, and endurance, social characteristics affect communication and interaction with others, and mental parameters reflect intellectual abilities and emotional stability. Thus, a comprehensive understanding of these aspects allows for a deeper exploration of the character and his development in the plot.

At the start, the player receives 10 points for distribution, with the ability to reduce the stats of one block to 8. This allows you to increase the stats of another block to 20. For example, if a player considers social parameters unimportant and prefers to focus on physical characteristics, they can reduce the starting stats of the social block. The freed points can be redistributed to physical parameters, which will make the character faster and stronger. This approach to point distribution gives players the opportunity to tailor their character to their preferences and strategies.

After distributing the parameters, the player chooses from sixteen starting skills that will help unleash the potential of their character. The player has only four skills available at the start. This does not mean that they cannot develop their skills later - it is possible to acquire new skills through mentors, but this process will be more difficult.

Each skill is divided into three levels, with starting skills consisting of two stages:

• novice,
• expert,
• master.

Each skill will be associated with a specific stat. For example, Endurance corresponds to Vitality, and Intelligence corresponds to Reading. Combinations of parameters are also possible: Dexterity combined with Wits will result in the Lockpicking skill. This allows for a deep and varied skill system, where each skill has its own unique characteristics and uses.

As players progress through quest lines, they accumulate points that they can freely distribute between their parameters and skills. These points are used to unlock new skills, improve existing ones, or enhance a character's primary stats. This allows each player to customize their hero to suit their individual playstyle, creating unique tactics to achieve gameplay goals.

The game's progression system provides players with a unique opportunity to learn new skills, unlocking secrets accessible only to true masters. For example, a master wielding a shield and finding themselves unarmed can prove more dangerous than any armed novice thanks to their proficiency in the "Fist and Edge" technique. This feature makes gameplay more engaging and strategically rich, allowing players to develop their skills and apply them to various situations.

Players will be able to earn stat points by exploring the world and discovering special places of power. These places will have unique visual features, including different color auras, such as red, blue, and green. With the help of these places of power, players will be able to arbitrarily improve one of their character's parameters, which will add an element of strategy to the hero's development process.

Developing your skill is a key aspect of the game. As mentioned earlier, having teachers is crucial to your progress. However, they may refuse to train you if they don't see potential in you or don't meet the required criteria. To increase your chances of being mentored, it's important to continually improve your skills and demonstrate a desire to improve.

You look a bit frail and perhaps not very bright. A sword is definitely not for you. You might want to consider a spear—it might be a more suitable weapon for you.

A swordsman is a highly skilled practitioner with extensive knowledge and skill in fencing. Such masters can teach the art of swordsmanship, passing on their knowledge and experience to their students. In the modern world, swordsmanship encompasses both traditional techniques and modern training approaches. Masters use a variety of styles and methods to develop not only physical but also tactical skills in their students. Training with a master swordsman can be not only a way to master martial arts, but also a means of personal growth, improving physical fitness, and boosting self-confidence. Anyone who aspires to become a master swordsman must be prepared for continuous self-development and training.

You can persuade a master to train you by completing their quest. You can also use diplomacy to achieve this goal. In extreme cases, you can take a more aggressive approach, asserting your uniqueness and demanding due respect.

Each skill level grants the character new abilities, increases the success rate of actions, and strengthens basic skills. The exception is the Reading skill, which does not provide the ability to improve your reading level.

We reimagined traditional RPG progression systems, aiming to make gameplay more engaging and varied. Our approach includes innovative mechanics that deepen player interaction with the game world and allow for unique character development. We're confident this will make your experience more immersive and fulfilling.

Roman Bakunov, Digital Retro Dimensions — solo developer, author of The Last Murder

A few months ago, I completed Mutant Year Zero: Road to Eden to familiarize myself with modern turn-based tactics. I was impressed: it's a captivating adventure with vibrant characters and catchy electronic music. While it lacks grandeur and the open world feels more like a backdrop, this didn't stop me from enjoying the game from start to finish. Overall, Mutant Year Zero offers an interesting experience for fans of the genre and is worth a look.

I'm sharing this information to draw attention to an important issue.

The combat mechanics in Mutant Year Zero: Road to Eden are built on a strategic approach and the use of tactics. First and foremost, players need to take advantageous positions on the battlefield. Then, they should use stealth mode to quietly eliminate enemies with a silent weapon. This allows for effective elimination of opponents while remaining undetected. However, if you encounter an enemy with high health, it's worth switching to a more powerful and loud weapon to eliminate the remaining opponents in the open. This combat system makes the game dynamic and engaging, offering players a variety of strategies for success.

However, the focus is on shooting and everything associated with it. An important aspect is the use of cover, which can provide protection from incoming fire with a certain probability. This probability largely depends on the type of cover, as well as the player's position relative to the enemy. Proper cover selection and its use in combat can significantly increase your chances of survival and success in the game.

The question that arises concerns the realism of the situation depicted in the famous meme image from XCOM 2. In this image, a soldier with a huge gun aims at an alien's head, but the hit probability is only 65%. This raises a discussion about probability and randomness in games. How often do similar situations occur in real life, and to what extent do they correspond to game mechanics? XCOM 2, known for its complex tactics and random elements, forces us to consider how predictable our actions are in the face of uncertainty. Moments like these add intrigue to the gameplay, but raise questions about the plausibility of such calculations.

In Mutant Year Zero, grenades always land precisely where the player points. This may seem strange. The game features a variety of weapons, but the conceptual differences between them are minimal. When the player encounters a barrel resembling an assault rifle, confusion arises. Where is the option to choose between single shots and burst fire? However, such "privileged" functions do not fit into the probabilistic mechanics that form the core of the game. This creates a unique gaming experience focused on strategy and tactical planning.

Many tactical games are built on similar shooting principles, and indeed, they are the overwhelming majority. As a fan of the genre, I realize that Mutant Year Zero draws inspiration from the board game of the same name. In the board game, the probability-based mechanics are well-developed and logical. However, the computer adaptation opens up new possibilities that, unfortunately, are not always fully realized. Despite technical capabilities, developers are sometimes limited by narrow boundaries, which affects the overall experience of the game.

What possibilities do physics and its tools, such as colliders, open up? The answer is obvious: they provide unique opportunities for exploring and understanding the universe. When it comes to physics, a feeling of inspiration arises, as this science is closely connected to the dynamic and exciting aspects of our lives. Physics is particularly reflected in action games, where shooting becomes the core of the gameplay, creating unique and engaging gameplay. The study of physical laws allows developers to create more realistic and immersive game worlds, where every action has its consequences.

Imagine the classic shooting mechanics of games like Mutant Year Zero and XCOM combined with a physics model characteristic of familiar action games, albeit a simpler one. This creates more unpredictability, realism, and freedom in gameplay. Now there is no need to calculate complex formulas. Instead, players can enjoy the game's simplicity and intuitiveness without delving into mathematical calculations. "This cover provides 30% protection, and given the enemy's position, the total protection is 75%" may seem interesting, but it detracts from the core enjoyment of the game. People already encounter math in school and college, and when they log into a game, they want to relax, not solve equations again.

As a game developer, I notice a lack of classic gameplay mechanics typical of old-school games. This is especially true when it comes to integrating combat mechanics with the surrounding physical world, including environments and characters. This gap between spectacular visuals and realistic combat mathematics becomes noticeable. It's important to note that this is true for turn-based tactics games like Mutant Year Zero and XCOM, where this discrepancy can significantly impact gameplay. Developing a more harmonious interaction between combat mechanics and the environment can significantly improve the player experience and restore interest in the genre.

Why am I so fixated on seemingly insignificant gameplay conventions?

Games, in terms of their internal structure, are a complex system of conventions. In essence, this is a kind of illusion. However, for players, this is not crucial. The main thing is that the game's appearance is convincing and engaging. The problem of the discrepancy between visuals and mathematical models reveals this illusion. As a result, a certain "magic" characteristic of cinema is lost in the context of video games. It is like watching a film with low-quality special effects, hastily created using ready-made templates in After Effects. It is important that developers strive for a higher-quality integration of visual and gameplay elements, which will create a deeper and more immersive interaction for players.

How can familiar gameplay be presented in a new way? One effective way is to mix different games and genres, using different approaches to the same gameplay situations. This method isn't universal, and I realize it may seem trivial. However, it's worth noting that many older games have already used similar ideas. An example is Jagged Alliance 2, released in 1999, which features unusual mechanics such as a hit probability system, where, when shooting, an enemy is shown, for example, a 65% chance of success. Even though I spent a lot of time with this game, such moments were puzzling and thought-provoking. This once again confirms that everything new is largely forgotten old. Using historical context and the experience of past games can be an excellent basis for creating fresh and engaging gameplay.

The Last Murder, a tactical turn-based game I'm developing, uses an approach that ensures maximum consistency between mathematical calculations and visual elements. The game immerses you in a harsh reality where clear game rules apply. These rules are harmoniously combined with a physics model that covers characters, environments, and weapons, creating an engaging and realistic gameplay experience.

Each weapon in The Last Murder has its own unique characteristics and feel. This is significantly different from Mutant Year Zero, where the variety of weapons doesn't significantly change the gameplay. Mutant Year Zero does feature a variety of weapons, but the differences are limited to a few numerical stats, such as range and damage. The cone of fire for each weapon is barely perceptible, which reduces player engagement. In The Last Murder, each gun offers its own tactical possibilities, making gameplay more exciting and varied.

In The Last Murder, shooting is implemented using real-world physics, giving cover a unique feel. There's no clear distinction between "50% protection" or "25% protection" depending on the character's position. Players can feel the full danger of bullets flying past, barely escaping the character unharmed. It's important to remember that bullets can hit unexpected places, which requires tactical consideration. Different hits to body parts deal varying amounts of damage, adding a strategic element. Exploding containers and the possibility of accidentally damaging allies only heighten the tension. Scenes reminiscent of John Woo's style make the gameplay even more exciting and dynamic.

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Game design secrets: tips from the developers of Dark Souls, Fallout, No More Heroes and Castlevania

The world of game development offers many unique approaches and methods that help create engaging and memorable gaming experiences. The creators of renowned titles like Dark Souls, Fallout, No More Heroes, and Castlevania share their game design secrets that can be useful for developers and gamers alike.

One of the key ideas is creating a deep and thoughtful world that encourages players to explore every corner. In Dark Souls, for example, the attention to detail and interconnected locations create a sense of a unified, cohesive space. This emphasizes the importance of thoughtful architecture and world logic, which contributes to a more engaging gameplay experience.

Also important is the balance between difficulty and accessibility. Fallout offers players freedom of choice and the ability to tailor the game to their preferences, making it appealing to a wide audience. Creating a progression system that rewards players for their efforts helps maintain interest and stimulate a desire to continue playing.

Equally important is the emphasis on narrative. In No More Heroes and Castlevania, the story and characters play a central role, creating an emotional connection between the player and the game. A strong story can complement the gameplay, making it more immersive and memorable.

In conclusion, the secrets to successful game design lie in creating a well-thought-out world, balancing difficulty, and developing the story and characters. Drawing on the experience of projects like Dark Souls, Fallout, No More Heroes, and Castlevania, developers can create unique and engaging games that will leave a mark on the hearts of players.