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PostPosted: Sun Jul 01, 2012 4:43 am 
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Hullo,

I just finished the game the other day and took some notes.. I think some has been addressed in other posts but I haven't had a chance to read it all. This post contains spoilers. edit: I played right through using v1.2

tips:
- keep a text file for a quest log as well as locked doors/chests
- leave keys by the door that you unlocked them with. Otherwise they take up all your inventory *and* you don't know what they're for.
- get atm card as soon as you can

feature requests:
- Quest Log. I noticed you had a quest log in an earlier version via your devlog but it was taken out? I actually preferred keeping my own log but only started after I got to the garbadge mines and realised the game wasn't going to hold my hand.
- Map markers. Something like Ultima Underworld where you could view all maps and mark with your own notes would be cool but I realise that it would be difficult considering how the levels are laid out and you can only view one map at a time.
- a key ring :) It seems every first rpg in a series doesn't have a keyring and then the next does. I had keys taking up a third of my inventory because I didn't know what they were for or if I would need them later. I wised up with some later keys and left them by the door I had unlocked.
- tab completion for typable actions/dialog.
- edit: Also, why not log failed dialog/item actions and get players to send them in so you could beef up the number of unique responses?

bugs/possible bugs:
- could enter diamond cave through sign (still needed key inside)
- the club house gates insides, I solved by opening the gates by using a switch on the other side of the gate. I thought this was a legitimate solution but..
- I could also get lightning mail in chest through the gate without opening the gate.
- ATM, typing balance gives me $0 balance. Also can't type in amount of money (or even the $ sign for the given options)
- I completely missed first card from ghost in castle cause new guy was standing on it. I didn't find it until much later.
- Waking castle ghost with easy waltz... I had to save/quit and return for it to work!
- Luda's note doesn't work after you finish the game - nor luda conversation.
- breakout boss is buggy.. the paddle doesn't seem to determine angle of ball? one time the angle got stuck at this wide angle that took ages to get to top and back. I think where the ball hits the paddle is meant to determine the angle it leaves it? Or is that pong?
- a couple of spelling mistakes and double words in later game dialog. (sorry I didn't note where)

questions:
- phone, bottle of water, hex necklace, etc.. do nothing?
- what was the overstock key that you find in the diamond mine for?
- what was the big drop with the grate on top in the garbadge mines meant to be? Is there a place we've been to underneath or were we supposed to open it?
- Also, was there more to do after you give luda's note to the guy? He says 'she was wrong' and then that's it?
- Are there enough pirate keys? Or are you supposed to only open some of the chests?
- Are there multiple endings?

All in all this is a great game and I had fun working through it. I had less trouble figuring out what to do next when I kept my own log of things.


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PostPosted: Sun Jul 01, 2012 2:20 pm 
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sonneveld wrote:
bugs/possible bugs:
- could enter diamond cave through sign (still needed key inside)

questions:
- phone, bottle of water, hex necklace, etc.. do nothing?

As far as I know walking through the sign is the only way inside of the diamond mine, if you got in another way please let me know

The phone and bottle of water can be sold to Tucky, the mine shop owner, for $100 and $200 respectively. I could not notice any different from wearing the hex necklace, though.


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PostPosted: Sun Jul 01, 2012 3:12 pm 
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Doglord 420 wrote:
As far as I know walking through the sign is the only way inside of the diamond mine, if you got in another way please let me know


The sign is removed later on in the game as part of the plot. I just wasn't sure if I was meant to be able to enter the mine before that point.

As for the phone and water, I wasn't sure they were needed until I had finished the game without using either. :) The recent Giant Bomb quick look got the hex necklace and the wedding ring necklace confused, thinking it would trigger the marriage sequence. Although originally I thought they were trying to suggest the hex necklace did something else cool when you slept, like for eg, you wake up in another random bed that you slept in (which might be cool? but maybe a confusing feature)


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PostPosted: Sun Jul 01, 2012 5:02 pm 
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Woo, thank you! Some great suggestions. I read and think about all feedback but don't usually respond directly. So please don't you or anybody else feel like I've ignored any of your posts!

Few things though that I thought you might find interesting:

- I actually have a mechanism in place to log what keywords players type in! I decided though that I didn't want people to feel like they were spied on while playing. I.e., I thought having in the back of your mind that the dev was watching you play would diminish the enjoyment of the game. It would be awesome data to have, though!

- You are correct, there was a quest log but I scrapped it because it actually overwhelmed the tone of the game. Like, there was no way to write the quest log that didn't seem to be putting words into the players' mouth.

- Keyring is a great idea. The only catch would be that it's not an automatic use item, i.e., I like that you have to know what key to use in what door.

- The issue with the Luda letter after the game has been won is known, and should be fixed for the next update.

- Walking into the diamond mine early on is by design. Sorry if the sign placement made it seem like something was broken.

- Issues with the levers are known, but I think I'll leave them in as a kind of exploit =) It's not by design but as none of them are in critical places it should be OK!

- I can't comment on any of the items and their possible uses (or uselessness) due to game dev code of honour, but it was funny to see Patrick so confused during the QL about the two medallions. =) When you know what the puzzle is it was funny as heck to see him keep going to sleep... "I'm trying to get to the ghost wedding. There was this weird ghost wedding, I was sure this neckace triggered it. When I go to sleep, I'll wake up in a different place... Hmm. Nope." Ha ha ha I was lol-ing... =) It was nice of him to try and show off one of the cooler subquests though!

- [EDIT] I should say the ATM balance thing is a bug; I think it shows your on-hand cash instead. Also I like your idea of entering a number but should that be to withdraw or deposit? Hmn.. I guess withdraw.

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PostPosted: Wed Jul 04, 2012 1:45 am 
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PsySal wrote:
- You are correct, there was a quest log but I scrapped it because it actually overwhelmed the tone of the game. Like, there was no way to write the quest log that didn't seem to be putting words into the players' mouth.

Instead of an automatic quest log, would a simple todo list manager work? Add, remove entries as well as marking them as "TODO, DONE, OPTIONAL". Actually, you could probably add position data too.

Also, allowing the player to add custom annotations or names for items would be neat (like some roguelikes) eg
- Wedding ring - 'makes me sleepy'
- Eye of Cornelius - 'increases range'
- Silver key - 'was told would be useful near flocks of geese'


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PostPosted: Wed Jul 04, 2012 4:21 am 
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sonneveld wrote:
PsySal wrote:
- You are correct, there was a quest log but I scrapped it because it actually overwhelmed the tone of the game. Like, there was no way to write the quest log that didn't seem to be putting words into the players' mouth.

Instead of an automatic quest log, would a simple todo list manager work? Add, remove entries as well as marking them as "TODO, DONE, OPTIONAL". Actually, you could probably add position data too.

Also, allowing the player to add custom annotations or names for items would be neat (like some roguelikes) eg
- Wedding ring - 'makes me sleepy'
- Eye of Cornelius - 'increases range'
- Silver key - 'was told would be useful near flocks of geese'


Hey just wanted to say, this is a great idea. I probably won't try and retrofit it into TRT but I think I will use this for my next game.

Nethack has a similar system, and it works brilliantly.

Just so you guys know, I did experiment with a quest log but I abandoned it actually because it was overwhelming the entire tone of the game. I.e., instead of kind of poking around the world trying to figure things out, it was like you clicked the notebook button and there was this weird voice not otherwise present in the game, telling you what to do (Sam is a silent protagonist, so it was very strange to see his voice in the notes.)

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PostPosted: Mon Dec 03, 2012 4:01 am 
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Hey, just finished the game (v1.3). First thing I wanted to say was "awesome job!"

Also I had some notes:

- I love the day/night cycle, and the schedules of the villagers.

- The music is stellar, and it's great that it informed the game design.

- I think the puzzles were just the right difficulty. I admit that I looked at the forums a few times on some of them. But I never had to resort to a walkthrough. Sometimes I stumbled into the solution but more often than not I had to actually use my brain, a rare thing these days.

- The art style was really unique, but more than that, everything felt like it belonged. The minimal animation style is a big boon to a game that has so much interaction with the environment... I can't imagine animating picking up objects and opening boxes for the million options in this game.

- It might be just me, but I occasionally had trouble keeping track of all the characters in the game. It's probably a combination of me not playing for a few months, the number of characters, the simplistic art style (I tend to remember faces), or other things. However the dialog for the kids was really memorable, and I remembered the most important characters, just not all the townsfolk.

- The combat was really interesting... regenerating health meant that you can scrap boring inventory management, but the fact that you keel over when you get hurt means that there is a real incentive not to get hit by attacks. To be honest, this system grew on me. In the beginning I was really frustrated by the fact that I couldn't move and escape, but for a niche game like this it makes sense. Also the death penalty isn't that bad, and the walk speed is fast enough that the times where I spawned far away didn't bother me so much.

However the hit feedback was sometimes really sparse and difficult to understand. I would feel like I'm shooting enemies point blank but the hit wouldn't register. If the hit is ineffective it would be better to have some kind of alternate effect telling the player this, it would make it more easy to understand.

- I like how your game design didn't rely on a bunch of meters and UI. No health and no sleep meter (funny visual feedback instead). The amount of busywork management was kept to a minimum, which I was happy about.

- UI was a bit clunky sometimes. Not unworkable, but the way you had to fiddle with the inventory, paper doll, and stuff on the ground could have been more streamlined. Using the shoebox was especially annoying, because you had to go through 3 clicks or so to get where you wanted to go. Ultima 7 had a draggable backpack and draggable pouches, and if you're going to do another game in this style it might be worth looking into that. For barrells and other things with objects inside of them, displaying it as a grid beside your inventory could be better, no?

- I really liked the hint chests. This is something that the Mother(Earthbound) game did really well, you pay for hints with in game currency but other hints are strewn around in a self referential sort of way. I liked that you justified it in the story though.

Bug:
- At the Interstate when Carrie and Mathilda are walking back towards the car, you can trigger a really old dialog sequence when you talk to Malthilda, the sequence where she congratulates you for finding the wizard wand.

Questions for you that you can answer/not answer:

- Did you program this engine? Or is it a modified version of something else?

- How long did it take you to make The Real Texas from start to finish?

- Why did you decide on a silent protagonist?

- Was the art style born out of some sort of limitation, a prototype, or were you inspired by something else?

- Choosing real time combat over some sort of turn based RPG combat was because of a Zelda influence? Do you think the game could have worked with turn based combat?

Thanks again for giving us such a great game, and I hope that you can get it on Steam and more people can be exposed to it.


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PostPosted: Mon Dec 03, 2012 7:06 pm 
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KTallguy wrote:
Hey, just finished the game (v1.3). First thing I wanted to say was "awesome job!"


Thank you! :) It's awesome to hear when people are enjoying the game and when people finish it gives me a really awesome feeling!

Quote:
Also I had some notes:

- I love the day/night cycle, and the schedules of the villagers.

- The music is stellar, and it's great that it informed the game design.

- I think the puzzles were just the right difficulty. I admit that I looked at the forums a few times on some of them. But I never had to resort to a walkthrough. Sometimes I stumbled into the solution but more often than not I had to actually use my brain, a rare thing these days.


Thank you! I think it's definitely OK to check the forums for help on some of the puzzles. The basic problem in creating puzzles is this:

- If puzzles require a crucial insight to solve, then even if they are very well-designed, some people will just not have those crucial insights.
- Conversely, if you create a puzzle that everyone will always be able to solve, then there will be nothing interesting gained by those who solve it.

This is maybe the crux of the issue with "modern game design". By which I mean games that are designed so that the player is guaranteed to have a certain experience (obviously not all games are made this way, but a lot of AAA titles seem to be.) On the one hand, it's successful because every player has a great experience. But on the other hand the feeling of genuine discovery, insight or accomplishment is lacking, which is something really wonderful that games can give you.

So when designing the puzzles in The Real Texas I definitely recognized that for many players, there were going to be one or two things they needed help with. But it won't be the same things for every player (if it was, I would just tweak those things to make them a bit more obvious-- i.e., if *everybody* gets stuck at the same point, I think the argument can rightly be made that the point in question is the problem, it's not just random chance that some players don't have the insight.) So it's a really careful balance and in order to get a really excellent feeling of accomplishment, you have to forgo perfection in the sense that not every player will solve every mystery.

Quote:
- The art style was really unique, but more than that, everything felt like it belonged. The minimal animation style is a big boon to a game that has so much interaction with the environment... I can't imagine animating picking up objects and opening boxes for the million options in this game.


Yeah, this ties into what you asked below! I think that animation and interactivity is perhaps more important than pure static visual accuracy. For instance, you can pick up and carry brooms, sticks, etc. It was important to me that the game show you carrying them, even though it serves no practical purpose. Or for instance when you open a box, you can see what's inside-- it sometimes doesn't fit exactly within the confines of the box, so in that sense it's a "rough edge" but it adds a lot to the feeling that the world is real.

What I'd say is that fidelity of animation is more important than fidelity of shape. It's more important that a tree sways than they have a high-res bark texure (the trees in Texas actually do sway, but not quite enough, I just didn't have time to tweak it as much as I would have liked.)

Quote:
- It might be just me, but I occasionally had trouble keeping track of all the characters in the game. It's probably a combination of me not playing for a few months, the number of characters, the simplistic art style (I tend to remember faces), or other things. However the dialog for the kids was really memorable, and I remembered the most important characters, just not all the townsfolk.

- The combat was really interesting... regenerating health meant that you can scrap boring inventory management, but the fact that you keel over when you get hurt means that there is a real incentive not to get hit by attacks. To be honest, this system grew on me. In the beginning I was really frustrated by the fact that I couldn't move and escape, but for a niche game like this it makes sense. Also the death penalty isn't that bad, and the walk speed is fast enough that the times where I spawned far away didn't bother me so much.

However the hit feedback was sometimes really sparse and difficult to understand. I would feel like I'm shooting enemies point blank but the hit wouldn't register. If the hit is ineffective it would be better to have some kind of alternate effect telling the player this, it would make it more easy to understand.

- I like how your game design didn't rely on a bunch of meters and UI. No health and no sleep meter (funny visual feedback instead). The amount of busywork management was kept to a minimum, which I was happy about.


There are a lot of main characters in the game-- I think it's probably normal that some stick out more than others! Some novels are like this, too. It's interesting because reading a novel like that, I wonder if people have slightly different experiences based on who they can remember. Novels with tons of characters are really interesting to me.

The combat definitely could and will be refined for future games. I want to make another game with basically the same core concept for combat but refined. As you say, it's a niche kind of thing, so I may as well try something different. Unfortunately trying something new doesn't always work perfectly the first time around; so I feel like I owe it to the lessons I learned to make another game that expands on the combat. I'm thinking of also making a quick "tips and tricks" video to explain a few things that maybe didn't come across clear enough.

Quote:
- UI was a bit clunky sometimes. Not unworkable, but the way you had to fiddle with the inventory, paper doll, and stuff on the ground could have been more streamlined. Using the shoebox was especially annoying, because you had to go through 3 clicks or so to get where you wanted to go. Ultima 7 had a draggable backpack and draggable pouches, and if you're going to do another game in this style it might be worth looking into that. For barrells and other things with objects inside of them, displaying it as a grid beside your inventory could be better, no?


A lot of people have mentioned this, and I will be reworking the inventory system for future games to be more managable for sure! :) Even just being able to drag and drop into a box would have saved a lot of time, you know.

The trick was mostly that the inventory system was really tricky to keep consistent in terms of rules, even with 1.2 there were some subtle bugs that could be exploited (I think it's pretty airtight now, fortunately.)

Quote:
- I really liked the hint chests. This is something that the Mother(Earthbound) game did really well, you pay for hints with in game currency but other hints are strewn around in a self referential sort of way. I liked that you justified it in the story though.

Bug:
- At the Interstate when Carrie and Mathilda are walking back towards the car, you can trigger a really old dialog sequence when you talk to Malthilda, the sequence where she congratulates you for finding the wizard wand.


Bug noted! Thank you :) The hint chests were an interesting discovery for me actually. Like basically I was having two problems at once: 1) how to reward the player for exploration, and 2) how to explain certain rather obscure secrets in an interesting way. I had the idea of hint chests to tie these together and was really happy with the result. When you see a hint chest you instantly know it's going to be a good reward-- really all the hints are interesting and valuable, and help you understand how the world works so it helps the game as a whole, too. So the hint itself is an awesome reward. Imagine how boring the hint chests would be by comparison if they just contained money! =)

Quote:
Questions for you that you can answer/not answer:

- Did you program this engine? Or is it a modified version of something else?

- How long did it take you to make The Real Texas from start to finish?


It's a custom made engine, but one I'll be reusing (with a few minor tweaks, e.g., for inventory) for at least two more games. It took about 5 years in total to make which helps explain why I want to get a bit more mileage out of it.

Quote:
- Why did you decide on a silent protagonist?


I always liked silent protagonists; the two main games that serve as inspiration (Ultima VI and Zelda: LTTP) both have silent protagonists, as does my fave game of all time (Chrono Trigger.) Having a silent protagonist to me means the main charachter is a stand-in for the player. The player should imagine themselves as that character.

It is complicated, and actually the protagonist isn't perfectly silent-- any time the game takes over your control to move you into a certain spot (e.g., in the chicken smasher room, you are automatically "walked over" to talk with Charles) I am actually violating the premise. But I tried to keep it to a minimum.

Anyhow it's a personal preference; having a silent protagonist is more difficult from a story-writing perspective in some ways but I think it adds a lot. I know some people hate it though :)

Quote:
- Was the art style born out of some sort of limitation, a prototype, or were you inspired by something else?


It ties into what I said above, and other things you already observed. It's a function of variety and animation. For instance, if the characters had arms, I would have to animate the arms. Instead, I leave them out and your brain kind of fills them in.

In terms of variety of items, when I limit myself to only using rectangular prisms, I am actually making many, many crucial design decisions at once. In particular, it helps the visuals hold together overall, and it helps me eliminate a lot of extra work that would be involved if I allowed more freedom of shape. The rectangular prism thing was probably almost the first decision I made.

Quote:
- Choosing real time combat over some sort of turn based RPG combat was because of a Zelda influence? Do you think the game could have worked with turn based combat?

Thanks again for giving us such a great game, and I hope that you can get it on Steam and more people can be exposed to it.


I think the game could work with turn-based combat. However there are really two types of turn-based combat games, one where the location of actors matters (e.g., Final Fantasy Tactics, Disgaea) and one where they don't (e.g., classic Final Fantasy and Dragon Quest games.)

I've always been bothered by the second type. Personally I find it jarring to have a "battle zone", i.e., a separate map to show the combat on. Chrono Trigger manages to be both somehow. But also, I don't play too many turn-based combat games! So it's just natural to have the combat be realtime. Doing it turn-based wasn't something I seriously considered, but I have thought about it in the context of other games.

Thanks again for your feedback and well-wishes, too! :) Almost every day I sit down and work on games and each bit of encouragement is extra fuel for the gas tank, so to speak.

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PostPosted: Wed Dec 05, 2012 8:52 am 
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PsySal wrote:
Thank you! :) It's awesome to hear when people are enjoying the game and when people finish it gives me a really awesome feeling!

Yeah, I'm really glad I stuck with it, despite my break in the middle. The way it ended was really satisfying too, especially the epilogue. It ended the way it felt it was supposed to end, and didn't feel contrived at all.

Quote:
So when designing the puzzles in The Real Texas I definitely recognized that for many players, there were going to be one or two things they needed help with. But it won't be the same things for every player (if it was, I would just tweak those things to make them a bit more obvious-- i.e., if *everybody* gets stuck at the same point, I think the argument can rightly be made that the point in question is the problem, it's not just random chance that some players don't have the insight.) So it's a really careful balance and in order to get a really excellent feeling of accomplishment, you have to forgo perfection in the sense that not every player will solve every mystery.

This seems like a similar stance to Jon Blow's, and I really respect that. Some players just won't be able to solve the puzzles on their own... before we had strategy guides and hint hotlines, now we have the forums. I think you struck a good balance, and I think that the hint chests were again, an excellent idea.

Quote:
What I'd say is that fidelity of animation is more important than fidelity of shape. It's more important that a tree sways than they have a high-res bark texure (the trees in Texas actually do sway, but not quite enough, I just didn't have time to tweak it as much as I would have liked.)

I agree completely. I think pixel art and animation works on the same principle, the sprites in a game like Chrono Trigger are detailed as they can be, but the way they're animated tell so much more than you'd think possible.

Quote:
There are a lot of main characters in the game-- I think it's probably normal that some stick out more than others! Some novels are like this, too. It's interesting because reading a novel like that, I wonder if people have slightly different experiences based on who they can remember. Novels with tons of characters are really interesting to me.

I think it's true, different people experience a story in different ways, and latch on to certain characters more than others. I thought the girl looking for her BEWARR was really cute, and her dialog stuck out in my mind even though she only had a few lines. I also liked that Charles was an enigma for the longest time.

One thing that a few Japanese games used to do is have dynamic synopses when you loaded up your save file. Specifically I remember Metal Gear Solid 1 and Policenauts having this feature. Basically when you loaded the game, there would be a brief text description of where you are in the story, and sort of a contextual snapshot of what your next goal is. In the case of MGS and Policenauts, they are both linear stories, so it would be harder to make it work, but I found the technique to be extremely helpful in getting me back into the groove after not playing for a while.

Quote:
The combat definitely could and will be refined for future games. I want to make another game with basically the same core concept for combat but refined. As you say, it's a niche kind of thing, so I may as well try something different. Unfortunately trying something new doesn't always work perfectly the first time around; so I feel like I owe it to the lessons I learned to make another game that expands on the combat. I'm thinking of also making a quick "tips and tricks" video to explain a few things that maybe didn't come across clear enough.

I think that despite the negatives I mentioned, the combat had some really interesting elements to it. I really liked the mechanic when the slimes attacked and you had to keep your mouse cursor over the icon. I liked the weapon switching mechanic, and the fact that you had to switch manually for awhile made that belt very welcome. I appreciate little things like death animations changing depending on what weapon you use.

Quote:
It's a custom made engine, but one I'll be reusing (with a few minor tweaks, e.g., for inventory) for at least two more games. It took about 5 years in total to make which helps explain why I want to get a bit more mileage out of it.

I can totally understand why you want to get as much out of the engine as possible. I think it's a monumental achievement that you've built something that can handle a game of this scope. I've been getting my hands dirty with Unity and C# lately, but making something that caters to your specific needs is such a boon.

Quote:
Having a silent protagonist to me means the main charachter is a stand-in for the player. The player should imagine themselves as that character. It is complicated, and actually the protagonist isn't perfectly silent-- any time the game takes over your control to move you into a certain spot (e.g., in the chicken smasher room, you are automatically "walked over" to talk with Charles) I am actually violating the premise. But I tried to keep it to a minimum.

I think that your preference really matched the game, and along with the Ultima feel and the light clothing customization, I did feel like I was the player character. I recognize that sometimes if you give the player too much choice, such as not having them talk to Charles in that instance, it can make piecing together a narrative difficult... I think even Chrono Trigger and Ultima moved your PC around sometimes without your consent.

Quote:
In terms of variety of items, when I limit myself to only using rectangular prisms, I am actually making many, many crucial design decisions at once. In particular, it helps the visuals hold together overall, and it helps me eliminate a lot of extra work that would be involved if I allowed more freedom of shape. The rectangular prism thing was probably almost the first decision I made.

It's an interesting limitation, and although I can see some of the challenges it might create, I think it was really the right choice. It also made it so the character animation could be a little unique. One of the first things I noticed was the walk animation, it really set a quirky tone, along with the music.

Quote:
I think the game could work with turn-based combat. However there are really two types of turn-based combat games, one where the location of actors matters (e.g., Final Fantasy Tactics, Disgaea) and one where they don't (e.g., classic Final Fantasy and Dragon Quest games.)

I've always been bothered by the second type. Personally I find it jarring to have a "battle zone", i.e., a separate map to show the combat on. Chrono Trigger manages to be both somehow. But also, I don't play too many turn-based combat games! So it's just natural to have the combat be realtime. Doing it turn-based wasn't something I seriously considered, but I have thought about it in the context of other games.

I thought Chrono Trigger handled it really well, but it must have taken some poor level designer ages to plot each and every combat sequence. The effect was awesome though. I agree that breaking the combat into a separate map is jarring, and I used to find myself forgetting which direction I was moving before the fight started. Okami was an example of a real time combat system that locked you in a circular walled arena every time you fought something, and I always disliked it, even though I understood the justification.

The problem with the more "tactics" type combat systems is that positioning characters takes time and slows the game's pace to a crawl. If tactical combat is the game's primary focus, it might be OK, but there was a lot more than combat in your game.

Ultimately you weren't controlling a party of people in The Real Texas (although in the last fight it felt almost as if I was!), so turn based combat probably wouldn't have made as much sense.

Before I pass out from exhaustion I also wanted to add that it's really inspiring for me to play a game with such a broad scope made by essentially a single person. I work at a non-independent game studio and am very happy to be in my position, working on some great games with great people. But I also have my own ideas that I want to prototype and realize, and I am slowly working towards being able to do that. Playing your game (and numerous other high quality games by small teams) really encourages me to hit the books even harder. Thanks for giving guys like us room to dream even bigger :)


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