Intra Mundum (Demo available)

Galenmereth

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In the last update, I wrote about the new battle system I was working on. But after having the polished prototype done, I realized that the reason I was including a battle system was more due to conditioning than the needs of my game or its story. After all, almost every RPG I've ever played has contained the theme of killing innumerable enemies for the sake of currency and progression; imagining an RPG without combat is like imagining the world without money, it seems: It's nigh impossible. 

But after a lot of thought and experimentation, I have come to the conclusion that I can make an engrossing and exciting game without combat as a core gameplay mechanic. Instead I will put exploration and "puzzle" to the forefront. Talking with people, exploring the world and your characters is what the story was always meant to be about. Removing combat as a gameplay mechanic means I can afford to spend much more time on level design and puzzles, and also story elements. 

It was a scary choice, because for me it's truly taking a big leap into the unknown. But it feels right. I've remade a big part of the current version, improving it while removing combat, and I've started work on new content too. I'll have a new version available in not too long with new content that lets you see what I have in mind. For now, the download has been updated with a lot of updates to dialogue, timing, events, and a new map replacing an existing one.

Thanks for reading!
 
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m4uesviecr

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In the last update, I wrote about the new battle system I was working on. But after having the polished prototype done, I realized that the reason I was including a battle system was more due to conditioning than the needs of my game or its story. After all, almost every RPG I've ever played has contained the theme of killing innumerable enemies for the sake of currency and progression; imagining an RPG without combat is like imagining the world without money, it seems: It's nigh impossible. 

But after a lot of thought and experimentation, I have come to the conclusion that I can make an engrossing and exciting game without combat as a core gameplay mechanic. Instead I will put exploration and "puzzle" to the forefront. Talking with people, exploring the world and your characters is what the story was always meant to be about. Removing combat as a gameplay mechanic means I can afford to spend much more time on level design and puzzles, and also story elements. 

It was a scary choice, because for me it's truly taking a big leap into the unknown. But it feels right. I've remade a big part of the current version, improving it while removing combat, and I've started work on new content too. I'll have a new version available in not too long with new content that lets you see what I have in mind. For now, the download has been updated with a lot of updates to dialogue, timing, events, and a new map replacing an existing one.

Thanks for reading!
Wow.

First I want to say that I am currently working on a game with a similar theme - Exploration and puzzles, with no combat albeit one instance of it which pertains to a cutscene of sorts.

I am glad that I played your game. Based on what I previewed in your demo, I have no doubts that your game will fare just fine without the battle mechanic.

I didn't go too in depth, merely because I didn't see a need to, but I decided to give a review that is concise and to the point:

Storyline

--

Totally intrigued. You have left a lot of open space for this game to run in, and I am eager to know what happens next. Where were Leonard and Elena when they found the orb of doom? What is the mystery behind the orb? Why did Leonard end up in Elena's body? Where will this "power" (or curse) take them once Elena ventures outside of the Professors home?

I have questions, and I need them answered: NOW.

Great job here, can't wait to see how you develop this story.

Pacing

--

The pacing, up to the end of the demo, is done fairly well. It leaves the player wondering exactly what is going on (me included), and the story unfolds accordingly. 

I believe that the Professor's belief is a tad forced (he tells the maid to look into Elena's eyes, and I'm curious as to how that is enough proof to believe that Leonard has occupied her body), but I'm unsure how to convey the message without dragging the event through the dirt.

I felt as though the explanation cutscene (where Elena hears Leonard) was stretched, but perhaps that was me. I felt as though there was more talking going on than playing. I don't think it would have been as bad had you not decided to test out the mirror in Elena's room for a second time, before going to dinner, and then another cutscene in the maid's room.

Then again, I could just be impatient.

The biggest thing for me was the love confession.

When it happened, I literally exclaimed, "NO, NOT NOW. NOW ISN'T THE TIME LEONARD."

I would like to see the love between those two progress and be confessed later in the game, perhaps after certain actions/statements had been said. Since they both get a chance to be inside the other (giggity), I didn't see a reason to just air the laundry so quickly!

I'm assuming that is your intention. I watched an anime called Katanagatari where one of the main character's confesses his love for the girl on the first episode.

Very unorthdox, but it held its place. That's just my two cents on the matter!

Audio

--

I realize that a good bit of it was RTP, but you handled it so nicely. The music fit perfectly for each scene. I really don't have any complaints here.

Game Mechanics

--

I see you are working on that. Right now, I understood the use of the monsters in the other world because I have no idea where Leonard is. I am assuming it is a dark parallel alternative to the real world, where slimes are permitted to parade around and attack the unweary.

I had difficulty fighting after a while. On the second map (after you go into the Maid's mirror), I basically did all I could to avoid the slimes or else I'd die.

I'm eager to see your puzzle implementation. I already like the switching of worlds paired with quotes from memories. I, personally, think that the puzzles will work great.

Playing an exploration game is new to me (funny how I'm trying to make one), but your story coerced me to press on, which I believe is ultimately the goal, right? 

I'm following the topic, so I'll definitely make sure I'm up to date with the low-down on the Mun-down. such a horrible joke

Great stuff though. Seriously.
 
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Galenmereth

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Storyline

--

Totally intrigued. You have left a lot of open space for this game to run in, and I am eager to know what happens next. Where were Leonard and Elena when they found the orb of doom? What is the mystery behind the orb? Why did Leonard end up in Elena's body? Where will this "power" (or curse) take them once Elena ventures outside of the Professors home?

I have questions, and I need them answered: NOW.

Great job here, can't wait to see how you develop this story.

Pacing

--

The pacing, up to the end of the demo, is done fairly well. It leaves the player wondering exactly what is going on (me included), and the story unfolds accordingly. 

I believe that the Professor's belief is a tad forced (he tells the maid to look into Elena's eyes, and I'm curious as to how that is enough proof to believe that Leonard has occupied her body), but I'm unsure how to convey the message without dragging the event through the dirt.

I felt as though the explanation cutscene (where Elena hears Leonard) was stretched, but perhaps that was me. I felt as though there was more talking going on than playing. I don't think it would have been as bad had you not decided to test out the mirror in Elena's room for a second time, before going to dinner, and then another cutscene in the maid's room.

Then again, I could just be impatient.

The biggest thing for me was the love confession.

When it happened, I literally exclaimed, "NO, NOT NOW. NOW ISN'T THE TIME LEONARD."

I would like to see the love between those two progress and be confessed later in the game, perhaps after certain actions/statements had been said. Since they both get a chance to be inside the other (giggity), I didn't see a reason to just air the laundry so quickly!

I'm assuming that is your intention. I watched an anime called Katanagatari where one of the main character's confesses his love for the girl on the first episode.

Very unorthdox, but it held its place. That's just my two cents on the matter!

Audio

--

I realize that a good bit of it was RTP, but you handled it so nicely. The music fit perfectly for each scene. I really don't have any complaints here.

Game Mechanics

--

I see you are working on that. Right now, I understood the use of the monsters in the other world because I have no idea where Leonard is. I am assuming it is a dark parallel alternative to the real world, where slimes are permitted to parade around and attack the unweary.

I had difficulty fighting after a while. On the second map (after you go into the Maid's mirror), I basically did all I could to avoid the slimes or else I'd die.

I'm eager to see your puzzle implementation. I already like the switching of worlds paired with quotes from memories. I, personally, think that the puzzles will work great.
Thank you for the kind words. That the story inspired you to press on with your own game is really great to hear!

I'll reply to some of your comments in your review of what is there so far:

Pacing

--

The Professor's almost immediate belief of Elena's situation has been a real challenge to convey. It is as you say really hard to do without prolonging what is already  long event even further. In the latest version that I uploaded, where combat is now removed, I've made a few small changes to the dialogue that improved this. I'm also looking at adding a little text to the "looking into the eyes" to make it clear what I try to say there: It's meant to indicate Elena's strong resolve, which Elise picks up on as a sign that Elena is indeed dead serious. Although it's not said specifically by Elise, some silence bubbles are there to indicate she is still not convinced, so she'll be conflicted when you talk to her later on; she doesn't think Elena is lying, but neither does she believe her entirely. After all, Elena might be imagining all this, or dreaming it in her apparent weakned state; Elise doesn't know. I will elaborate on this of course, but I have to make that scene convey this better so that the player doesn't get this feeling of disbelief :)

Regarding the love confession, this was entirely on purpose. The idea is that these two have been in love with each other for a long time, but their profession – which remains mysterious for now, but will be explored – has made it truly hard to take the step necessary to convey it. Their personalities have also stood in the way, making it even more difficult. However, Leonard has now witnessed some very "life changing" events; waking up in a grave and crawling out of it to find himself in a dreamlike, foreign world; walking around this landscape, talking to his "self" and finally taking up residence inside his love's body. While there's probably not enough information to go on for the player to understand this, it's something I wish to build on over time so that you'll look back on that moment and feel that "rushing" it makes sense for a man whose had his world torn asunder and reconstructed with rules that no longer make sense to him.

Additionally, the goal of their love in this story is to explore it from the angle of "so close yet so far"; he's as close to her soul as he can possibly be, but yet remains so far away because his physical presence is gone. A core theme of the game is exploring the melancholy of entropy; how seemingly straightforward events and stories can be so completely different when disorder sets in. So I wanted to remove any mystique about their relationship; they love each other, and now they both know it. But then what? Where does their relationship go from there, when he's lost contact with his physical body? Can people truly love each other without physical contact? And how does it feel, over time, to have your loved one possess your body and hear your thoughts?  :)

Game Mechanics

--

The blobs in the "mirror" world actually are quite central to the story, but what I realized quickly with fight scenes is that it's nigh-impossible to view them as anything but "slimes" with their battle appearance. However, when I removed battles and only use their map sprites, their shapes (combined with the subtract visual effect) makes them mysterious enough so that I can have them serve my desired purpose. I won't spoil what they are for you, but I can say that they're not monsters.

Regarding puzzles, the new version has a tiny preview of it in the form of the revised version of Elena's "mirror" world. I introduce it quite simply and straightforward, because I have to ease people into it. But I will slowly build puzzles based on feelings such as fear (chaos), sadness, happiness and depression, and the core principle is that while not every puzzle must be logical, it should never be overly cryptical either. And not every "mirror" map is necessarily a puzzle, but that's a puzzle in itself; are you there to observe and listen, or to solve? ;)
Thank you very much for your time! I look forward to more of your feedback in the future, and I'll be sure to take a look at your project too when you're ready to share it :) Best of luck!
 

Galenmereth

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Books
 
Books in Intra Mundum serve both practical purposes and as a means of fleshing out lore without burying the player in forced dialogue. I'm taking great care to create a believable universe that you can explore at your own pace. Books are for those that like to explore every nook and cranny of fictional universes, and will include prose, poetry and history accounts of places, countries and events.
 
The book pictured here is a simple introduction to the survival mechanics in the game. More on those later.
 

Galenmereth

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I've taken a small break from story writing and worked some more on maps. Here's a wip "mapshot" of a previously unseen town called Ashforth. There will be more to this town south over the bridge where things are just barren right now:

 

Galenmereth

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The great reversal!

A while ago I mentioned that I was dropping combat from my game. After that I've been working a lot on scenario, map design, puzzle design and general gameplay mechanics. As I started fleshing out my story and how the player will progress through it, I started realizing that if I wanted to have that kind of gameplay, I'd need to keep the game relatively short. The reason is that if the player doesn't experience any progression other than story and puzzle variation, the gameplay quickly becomes stale. But I don't want a short game; I want to tell a grand tale of high fantasy. Doing this without letting the player do something that feels grand, something that gives a sense of growth in abilities of the characters... Well, it can probably be done. But you'll need high production values for that. You'd need visuals that, by themselves, inspire awe. But I'm very much a gameplay and mechanics kind of designer. So again I was met with a dilemma.

To keep it short (too late, I know) I've decided to reintroduce combat. For the past three weeks this has been almost the sole focus of development, because this time I didn't want to announce it and go back on my word. So instead of just announcing this, I'm going to show off some concrete examples of three classes from my game which I have been working on a lot. A gameplay video of combat will follow shortly, but I need to do some more scripting and polishing for it to be presentable to the public eye. I'm using a modified version of Yami's Symphony engine to draw visual battlers and animated enemy sprites, as well as custom visualization of attacks such as a shield bash, pierce attacks and more.

Classes:

Warrior

Somewhere between all out damage dealer and tank, the warrior is a versatile fighter that can equip many different types of weapons. Warriors can – like all classes – learn unique weapon skills from their equipped weapons, but come with their own class-specific skills that fall into two categories.

Shouts

Shouts are a warrior's means to level the playing field and to aid their allies. Shouts are powerful abilities that can turn the tide of battle if used strategically. Shouts use Spirit as a resource. The following are sample Shouts:

  • Hold the line! – Raises DEF and MDF of all allies for 3 turns.
  • For great justice! – Raises ATK and MATK of all allies for 3 turns.
  • I am your opponent! – Provokes enemies into attacking the warrior. Lasts 5 turns.
Stances

Stances are a warrior's means to improve their own abilities in battle. Stances use TP as a resource.

  • Block Stance – Available if a shield is equipped. The warrior assumes a blocking stance that greatly reduces physical damage taken. Lasts 3 turns.
  • Counter Stance – The warrior assumes a stance to counter enemy physical attacks. Lasts 3 turns.
  • Frenzy Stance – The warrior assumes a frenzied stance that greatly boosts physical attack power and agility at the cost of defenses. Lasts 3 turns.
  • Evasive Stance – The warrior assumes an evasive stance to dodge enemy attacks. Lasts 3 turns.

Knight

The Knight is a great tank, but also a good support unit. Knights share some Shout abilities with warriors but also have some unique ones of their own. Their other class specific ability is Auras, which grant continual buffs for the whole party until switched with another Aura or if the knight should fall in battle.

Shouts:

  • I will save you! – Draws most debuffs from allies onto the knight. Also grants HP regen to the knight for 4 turns.
  • Revenge! – Has a high chance of reviving each downed ally. This is rerolled per ally, so that the shout can potentially revive every fallen ally. Very expensive, but can be a lifesaver. Literally.
Auras

Once an Aura is activated, it will stay active for all party members until switched out with another aura, or until the knight falls in battle. Only one aura can be active for the whole party at any time.

  • Vitality – Grants HP regen to party.
  • Mind – Grants increased Spirit regen to party.
  • Fury – Grants increased TP regen to party.

Martial Artist

The Martial Artist is a fighter that can fight barehanded or using weapons like claws, spears and swords. This class can learn unique abilities from weapons in addition to standard ones, and when fighting barehanded has access to a unique set skills only available when not equipping weapons. These skills fall under the Taolu category (solo hand and weapon routines/forms). The martial artist also has access to a skillset called Qigong, which focuses on defensive and offensive abilities. Here are a few examples of these skills:

Taolu

The following are the barehanded unique skills that belong to the Taolu category. These all consume TP:

  • Open Palm – A mighty open palm thrust that stops just short of hitting the foe. Ignores target defense.
  • Closed Fist – A closed fist punch that deals a lot of damage, especially to foes with little armor.
  • Monkey Kick – Deliver a lightning fast kick that is almost guaranteed to strike first.
  • Tiger's Fury – The user strikes nine times at random enemies at lightning speed.
Qigong

These skills all use Spirit as a resource. Qigong is the use of breathing, movement awareness and meditation in battle. These skills range from defensive to offensive.

  • Central Pillar – The user takes a deep breath and regains balance. Gain 50% TP and heal a small amount of HP.
  • Lion's Roar – Unleashes a mighty roar that strips enemies of their buffs. Has a good chance of also causing paralysis.
  • Defensive Qi – The user reinforces their presence using their Qi. Greatly increases all defense for 4 turns.
  • Qi Blast – The user unleashes a wave of Ki that deals damage to two random enemies equal to the user's current HP.

Other classes in the works

  • Trickster
  • Alchemist
  • Engineer
  • Bushi
  • Ranger
  • Viking
  • Shaman
  • Witch
  • and more.
Keep in mind that the game world does not feature magic in the traditional sense, so for example the Witch and Shaman are going to be unique twists on the traditional use of such classes.

That's it for now. I'll be coming back with gameplay footage of combat as soon as possible, so stay tuned! :)

Thanks for reading, and have an awesome day!
 

Dalph

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I like the whole concept of this game, it's completely RTP but has some sort of poetic feeling in it and everything is well executed.

The mapping is good, the dialogues are well written and the somewhat original storyline kept me playing till the end of the demo, and I must say I really enjoyed it, it's a very nice and promising work.

Best luck for your project.
 
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Galenmereth

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Thank you! Very glad to hear you enjoyed the demo :)

Using the RTP is one of the main reasons I chose to use RMVXA for this project; I usually write my own game engines, but that takes so much development time that the game itself has to be pretty simple if I am to have any hope in completing it by myself. Since I really want to create a bigger game with a long story and detailed setting, I try to limit myself as much as possible to the RTP so that I can spend more time on the gameplay and story. It's a bit of a gamble; I'm sure many will be turned off by all the familiar visual elements. But so far it seems there's also many who are willing to give it a shot even so, and thus the gamble seems to have paid off.
 

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The storyline always comes before the graphics, there are too many projects with a bunch of custom resources and a poor storyline, and this is a shame. And Yami's Symphony is definitely the best BS to me, you made a perfect choice.
 
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Galenmereth

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The storyline always comes before the graphics, there are too many projects with a bunch of custom resources and a poor storyline, and this is a shame. And Yami's Symphony is definitely the best BS to me, you made a perfect choice.
Those are my feelings exactly. It feels like the triple-A mentality seeps too far into the indie scene, so that impressive visuals (for an indie game, at least) becomes the main selling point of a project. But the more impressive your visuals, the more time you spend on them; an indie team – let alone one person – does not have the available manpower to do everything.

I'm glad you shared your opinion on this, as it reinforced my motivations. Thanks for sharing! :)

And yeah, Yami's Symphony is really great. Him and Yanfly have really opened up many possibilites in the game mechanics department that would otherwise have taken me so much more time; I'm going to make sure they're very visible in my credits.
 

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@Galenmareth: Hi! I like it a lot. You layed it out well. You are a proficient mapper. I am not, so I stick to fractal terrains and parallaxes. I will definitely be playing this when I get a chance. I like that you are mixing martial artists with knights. It's bad-ass! 


Justin
 
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Milennin

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Warrior


Somewhere between all out damage dealer and tank, the warrior is a versatile fighter that can equip many different types of weapons. Warriors can – like all classes – learn unique weapon skills from their equipped weapons, but come with their own class-specific skills that fall into two categories.


Shouts


Shouts are a warrior's means to level the playing field and to aid their allies. Shouts are powerful abilities that can turn the tide of battle if used strategically. Shouts use Spirit as a resource. The following are sample Shouts:

  • Hold the line! – Raises DEF and MDF of all allies for 3 turns.
  • For great justice! – Raises ATK and MATK of all allies for 3 turns.
  • I am your opponent! – Provokes enemies into attacking the warrior. Lasts 5 turns.
Stances
Stances are a warrior's means to improve their own abilities in battle. Stances use TP as a resource.

  • Block Stance – Available if a shield is equipped. The warrior assumes a blocking stance that greatly reduces physical damage taken. Lasts 3 turns.
  • Counter Stance – The warrior assumes a stance to counter enemy physical attacks. Lasts 3 turns.
  • Frenzy Stance – The warrior assumes a frenzied stance that greatly boosts physical attack power and agility at the cost of defenses. Lasts 3 turns.
  • Evasive Stance – The warrior assumes an evasive stance to dodge enemy attacks. Lasts 3 turns.
Knight
The Knight is a great tank, but also a good support unit. Knights share some Shout abilities with warriors but also have some unique ones of their own. Their other class specific ability is Auras, which grant continual buffs for the whole party until switched with another Aura or if the knight should fall in battle.


Shouts:

  • I will save you! – Draws most debuffs from allies onto the knight. Also grants HP regen to the knight for 4 turns.
  • Revenge! – Has a high chance of reviving each downed ally. This is rerolled per ally, so that the shout can potentially revive every fallen ally. Very expensive, but can be a lifesaver. Literally.
Auras
Once an Aura is activated, it will stay active for all party members until switched out with another aura, or until the knight falls in battle. Only one aura can be active for the whole party at any time.

  • Vitality – Grants HP regen to party.
  • Mind – Grants increased Spirit regen to party.
  • Fury – Grants increased TP regen to party.
You got your inspiration from Guild Wars (2)?
 

Galenmereth

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@Galenmareth: Hi! I like it a lot. You layed it out well. You are a proficient mapper. I am not, so I stick to fractal terrains and parallaxes. I will definitely be playing this when I get a chance. I like that you are mixing martial artists with knights. It's bad-ass! 


Justin


http://ultimatefantasystudio.com/
 
Thanks! Looking forward to hear what you think of it when you get a chance to. The demo doesn't yet contain the battle system, though, but it'll get included in not too long.

You got your inspiration from Guild Wars (2)?
 
Indeed I did. I love the idea of shouts; it's such a great concept. You probably noticed that they're far from the same, however. But yes, they are definitely inspired by warriors in GW2 for the shouts.


After quite a bit more work, I want to present the following two classes: The Witch and the Alchemist. My girlfriend helped me out quite a bit with these, which I am very happy with so far.


Witch


The witch is a channeler of energy and a manipulator of nature. The witch class will utilize animals like ravens and foxes in battle, as well as chants to command natural forces like wind, rain and lightning. These chants require a long time to channel, and the witch class is not armored, so it's a tricky class to use. But her power is substantial.


What sets witches apart further is their ability to enchant items with properties that can empower the owner, like health regen, improved luck, greater agility and even more attack power. Witches enchant items outside of combat, at Places of Power in the world. While any such place is sufficient for enchants, each place will come with unique boosts to certain attributes, so that if you want the most out of your enchants, finding an appropriate Place of Power is necessary.


Enchanted items will always have their bonuses active, but if a witch is present in the party in combat, their enchants are much more potent. Because of this, the witch is a very strategic party member to use: She has very little physical defense but very high spiritual defense. She can't equip any weapons, nor a shield. But if used right, she is a force to be reckoned with.


The witch has two kinds of abilities:


Life


Life is the power to control and utilize other lifeforms. Life abilities are used to call forth ravens, foxes and other animals, as well as using their aspects. All Life abilities cost Spirit. The following are a few examples of these abilities:

  • Skin of the Chameleon – The witch channels for 1 turn, then gains the stats of a random party member for 3 to 5 turns.
  • Raven's Treasure – The witch channels for 1 turn, then calls forth a raven that gives your party a random item.
  • Cat's Agility - The witch channels for 1 turn, then gains greatly increased agility for 3 to 5 turns.
  • Pack of Wolves – The witch channels for 2 turns, then grants the party increased attack and agility for 3 to 5 turns.
  • Rabbit's Foot – The witch channels for 1 turn, then grants the party increased luck for 3 to 5 turns.
Nature
Nature abilities allow the witch to call forth great storms or soothing rains. Nature abilities cost Spirit. The following are a few examples of these abilities:

  • Overcast – The witch channels for 3 turns, and then makes the weather overcast with dark clouds.
  • Lightning – Requires Overcast. The witch channels for 1 turn then makes lightning strike 1 enemy.
  • Lightning Storm – Requires Overcast. The witch channels for 3 turns, then makes a lightning storm loose on the whole enemy party.
  • Soothing Rain – Requires Overcast. The witch channels for 3 turns, then makes soothing rain fall on the party, clearing all debuffs and healing 10% HP every turn for 3 - 5 turns.
  • Clear Skies – Used if the weather is Overcast. The witch channels for 3 turns, and then clears the skies.
  • The Sun's Embrace – Requires Clear Skies. The witch channels for 2 turns, then makes warm rays of sun pour over the party, increasing attack and regenerating 10% Spirit every turn for 2 - 4 turns.
Alchemist
The alchemist is a versatile wildcard. With an alchemist in your party, you gain the ability to use the alchemy system, where you can combine herbs and other ingredients to create everything from healing tonics to explosive potions. Alchemists wear light general armor and can equip daggers and shields, but their stats are overall weak. However, all potions and tonics gain a boost in effectiveness when used by an alchemist, and the alchemist also has unique abilities that use potions and items as resource for some truly dangerous attacks.


Alchemist have the unique ability called (no surprise here) Alchemy.


Alchemy


Alchemy attacks utilize crafted or bought potions and tonics as resource. The following are examples of some of these:

  • Explosive Potion Barrage – The alchemist trows 4 Explosive Potions at random enemies, dealing damage and causing a burn condition that damages over time.
  • Toxic Jar Barrage – The alchemist throws 4 Toxic Jars at random enemies, dealing no immediate damage but inflicting Poison. Poison lowers healing received and deals damage over time.
  • Healing Potion Barrage – The alchemist throws 4 Healing Potions at random party members, healing them.
  • Enigmatic Potion of Mystery – The alchemist mixes a variety of potions on the spot into one unstable concocture, then throws it at an enemy. Can cause a vast array of conditions and debuffs, including instant death. There's resin in there after all. And probably cyanide. You never know. It might also end up strengthening the enemy if you're unlucky, but hey; it might be worth the risk!
  • Potion of Last Reserve – Are you out of potions and tonics completely? Fear not; the alchemist rummages through his backpack and produces some leftovers from all manner of almost-empty bottles. The result is an unstable mess that might cause great damage to the enemy, or blow up in your face.
As you can probably guess, these classes are for the more experimental players. But they provide some very interesting variations in strategies and gameplay that I personally look forward to playing with. And I'll have to; these won't be easy to balance ;) The random nature of the alchemist, for example, means that if you're truly lucky, you might kill a boss with one Enigmatic Potion of Mystery. But isn't that an awesome story to tell if it happens?
 
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Dalph

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The Alchemist is a pretty good idea, I'm working on something similar myself, along with a Mime class. :)
 

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I reallly like how it starts out.  Good atmosphere and super mysterious and all that.  One teeny tiny thing to criticize is sometimes it seems like balloon animations are overused, but that's really just a preference thing.  Just seems like they pop up a lot in some cutscenes.  :D
 

Galenmereth

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Thanks Spanky. And yeah, I've noticed that I've been a bit obsessed with the balloon icons. I'm planning on toning the use down a little bit where I can, especially in the future.
 
Dialogue changes
I've spent a lot of time today redesigning the dialogue message box, changing text colors for messages as well as picking a new serif font (I can already hear some typophiles moaning in the distance). The reason for the redesign and going from white text on a dark background to dark text on bright background is to make it legible for as many people as possible. It was spurred on by my own reaction to reading a lot of my own dialogue over time ingame; I am prone to migraines, and I ended up getting a migraine due to all the bright text on dark background contrast going on. Also, I think the new dialogue boxes and animations look much nicer. I've added an animation for the dialogue box to indicate when the subject changes in the midst of conversation, making it more obvious to the player. Since there's animations involved, I decided to make a video out of these changes:
 
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Dalph

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Nice light effects in that pub, I like also that custom window skin, feels like an old paper or something like that.
 

Galenmereth

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Yeah, that old paper feeling is what I went for. I kept it subtle visually, but the sound effects make it work very well I think. On that note, I also finished up the "item get" window. It also shows an informative text window you'll get the first time you pick up a key item, then also shows how the window looks if you get multiple items in a row :)
 

Dalph

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Looks great, but l'll personally would have preferred it on the bottom of the screen, it seriously bothers me this way (mainly because it can easily hide the character). But that's just a personal preference.
 
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Spanky

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So those lamps in the pub are from the victor light engine?  You can't really get that throbbing glow effect with khas awesome lights, right?
 

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