Originally traps were supposed to be implemented. However, what started out as a quick prototype idea, actually ended up with working volumetric fire and smoke effects. This is a huge improvement over the 2D billboard-based effects used in most games and really creates immersive effect in VR. I found a lot of useful tricks while prototyping this and hopefully I will make a full blogpost about it in the future.
Tattoos and a fat swine
I have worked on textures for the characters in the game. I have made the texture for one of the classes “The Berserker”; with a lot of tattoos. The tattoos are inspired by the norse mythology and vikings; with dragons, hammers, wolves and runes. I have also worked on the texture for our big swine-man enemy.
Anders Bruhn Pedersen
This week I’ve been exploring the many exciting ways unity manages to make animation difficult. To animate a character’s weapon we employ a dummy object. Sadly, using unity’s humanoid rig avatar has proved difficult with such a dummy object. After much trial and error I’ve had to switch to generic rigs.
Meanwhile, our poor characters are stuck with temporary animations in which their joints are twisted in a somewhat uncomfortable fashion.
This week, I’ve been focusing on modeling some of the low tier gear sets for the Witch character. She prefers lighter armor such as cloth, as she is not very strong physically. A lot of her armor is made of things found in nature, such as hide and bones. I also modeled some hair for her.
This week i started working on some diffrent armor tiers for the berserker class. We want him to be big intimidating and we want to have some variety in the diffrent armor tiers. Keeping that in mind and following the concept, i started working on the models. As you can see he uses bear pelt as clothing to intimidate hes enemies
Roars Without Vocal Cords!?
This week, I’ve been writing more music (surprise!). The bandits now has a theme, that bear resemblance to the town theme. I chose to do this, because the bandits are citizens corrupted by evil. Give the snippet a spin! Besides that, I’ve made the pigmen’s footsteps, for them good ol’ hoofs and also started the creation of their squeals and grunts. I plan to record my own voice for the squeals, but for now I use some recordings of real pigs. I’m also working on the “voices” for the skeletons. Goofing around with bones breaking is always fun, but having a creature without vocal cords producing roars or screams baffles me, so my version is more … dare I say quiet? Nah, that wouldn’t fit, since our skeletons still produces a lot of eerie and spooky noises!
This week I have been working with the introduction of traps.
The two general purposes of introducing traps are:
1. Strengthen the sense of being in dangerous environments.
2. Increase the variety and amount of tactical options in combat.
Traps can have a negative impact on your progress inside dungeons. While traps are not intended to straight up kill one of your heroes, they do pose a significant threat and may take a chunk of a hero’s health or bring a negative effect upon one or more heroes.
Traps are hidden and cannot be seen by the player unless the traps have been detected by your heroes, or a special item has been used to reveal them.
While all heroes do have the capabilities of detecting and disarming traps, the Scoundrel class is by far the best counter-measure for dealing with traps in general. They have special perks and abilities that allows for them to deal with traps in less risky ways than other classes.
Traps are not supposed to bar the player completely from moving forward in the dungeon. They are supposed to serve as a fair penalty for tactical carelessness. The player has the choice to bring trap counter-measures into a dungeon (in the form of a specialized Scoundrel or anti-trap items), and use these skillfully, or to prioritize other things and then be ready to deal with the risks.
It should not be a forced meta of the game to always bring a Scoundrel and anti trap counter-measures. Doing so will simply make your life easier in some aspects as you delve deeper into the darkness.
I’ll share a couple of pages on the subject from the design document:
Attack of Opportunity
I wanted to share a few words on a mechanic that we are currently experimenting with.
The mechanic is called “Attack of Opportunity”. In the context of Dreadmire, it involves a character getting to attack another character that attempts to move out of range (from an adjacent tile to a tile that is not adjacent).
What we want to achieve with the introduction of this mechanic, is to introduce an additional tactical layer to combat in the game. You would no longer be able to freely move in and out of melee range of enemies risk free. Ranged characters would no longer be able to kite opponents over long distances (repeatedly move out of range of danger and attack).
The goal is to steer the combat in a direction where engaging in combat demands a level of commitment, and where running from a fight involves significant risks.
To summarize it all in two key points, the purposes of the mechanic are:
1. Punish actors for attempting to run away from close combat confrontations.
2. Add a tactical layer to combat engagements particularly with the positioning of vulnerable and durable actors.
I’ll share the page on the subject from the design document as well: