r/gamedesign • • 3d ago

Meta Weekly Show & Tell - October 24, 2026

9 Upvotes

Please share information about a game or rules set that you have designed! We have updated the sub rules to encourage self-promotion, but only in this thread.

Finished games, projects you are actively working on, or mods to an existing game are all fine. Links to your game are welcome, as are invitations for others to come help out with the game. Please be clear about what kind of feedback you would like from the community (play-through impressions? pedantic rules lawyering? a full critique?).

Do not post blind links without a description of what they lead to.


r/gamedesign • • May 15 '20

Meta What is /r/GameDesign for? (This is NOT a general Game Development subreddit. PLEASE READ BEFORE POSTING.)

1.1k Upvotes

Welcome to /r/GameDesign!

Game Design is a subset of Game Development that concerns itself with WHY games are made the way they are. It's about the theory and crafting of mechanics and rulesets.

  • This is NOT a place for discussing how games are produced. Posts about programming, making assets, picking engines etc… will be removed and should go in /r/gamedev instead.

  • Posts about visual art, sound design and level design are only allowed if they are also related to game design.

  • If you're confused about what game designers do, "The Door Problem" by Liz England is a short article worth reading.

  • If you're new to /r/GameDesign, please read the GameDesign wiki for useful resources and an FAQ.


r/gamedesign • • 6h ago

Question How to fit dialogue into a bullet hell game?

5 Upvotes

Struggling a bit to find a good solution to how to add dialogue to a game with lots of combat. I want it to add plot to the campaign part of the game and have characters give tasks in a more diegetic way that just a pop-up saying "now collect 10 ores"

However, if I put characters talking into the center I would need to stop the action. If player walks into a dialogue trigger while fighting, that breaks the flow and makes for a very awkward talk end. If I disable the trigger while player is in combat, that might softlock a mission for a very long time, plus also creates some awkward situations - for example during a chase mission. And I still want it to be entirely skippable for someone who might want to replay the mission

So I thought about moving it to the screen side and not hitting the pause. It works a lot better for gameplay, but having action in the screen center and needing to read some text on the side means player either loses a fight or misses the dialogue. And mumble speech makes it feel even worse

I guess it should be possible to chop the game into areas that have either combat or dialogue, but that will limit what I can do or require walls "you cant pass, N enemies are still alive". Maybe someone can point me towards games that already did it well?

ETG had separate rooms with NPCs, Katana Zero too, so that seems like the usual solution for smaller games that cant afford to do characters talking while driving like in GTA. Plus reading is a "visual" task same as most gameplay, which means mixing them isnt good. Then question is how to make transitions less jarring


r/gamedesign • • 14h ago

Question How do I make a shield unit in a boomer shooter interesting and not a chore?

9 Upvotes

I’ve made 9 classes of soldiers that are separated by engagement range:

3 distant units (sniper, chaingun, rocket)

3 mid range (grunt, captain, shield)

3 close range (shotgun, pyro, assassin)

I put in a lot of effort to make them distinguishable by color and silhouette and think I have a good orthogonal mix.

The shield guy is the one unit I’m hesitant on.

Last thing I want is for players to groan at dealing with them because they are just a giant tree to chop down.

Because I’m going for an orthogonal boomer shooter I’m very mindful of the “dance”.

Prioritizing targets, using the environment, making choices, etc.

I’m thinking that making them vulnerable to grenades is a great first step.

Also, I’m thinking of having other enemies use them as cover, not just them alone.

Limiting their turn speed seems and range seems a natural way to make them mid range (too far away and their weapon is useless, too close and you can out storage them).

I’m thinking that I want the shield to not have a life bar so that it takes the whole “let me just pound them into submission” off the table and forces players to engage with them.

The last thing is I’m thinking is I want the player be able to pick up their shield and weapon, which is only available through them, as a sort of reward for killing them.

Obviously grenades and melee is off the table when you have their shield, but I’m also limiting the ammo for their gun so that it has a limited use.

Thoughts and opinions?


r/gamedesign • • 3h ago

Discussion Turning rotoscoped animation into an actual gameplay branch

1 Upvotes

In visual novels, player choices usually just swap text boxes and 2D facial expressions. Sooo, for our narrative game After the Wane, we wanted choices to carry direct physical consequences. Right in the prologue, after a dance sequence, the player faces a pivotal prompt: spread your wings, or spread your roots?

This isn't flavor text: it branches the narrative, scene, and dialogue. Crucially, it unlocks a completely distinct hand-drawn rotoscoped animation (~15 fps, drawn over real choreographers) reflecting Lena's physical and mental alignment.

Instead of being passive eye candy, our rotoscoped animations act as functional gameplay feedback: the player's philosophy directly dictates how the human body moves on screen.

For those working on narrative-driven games with simple mechanics, what game design choices do you make to keep the experience interactive, dynamic, and fluid? ^.^


r/gamedesign • • 20h ago

Question My strongest spell is cheap to cast but destroys the player’s only currency in the world. How do I frame this as an interesting trade?

19 Upvotes

In my roguelike, you are a humanoid black hole transmutation caster. Mass is the single currency (health, mana and XP all come from it), and you get it by absorbing matter. This largely comes from the the planets that are the game levels. One of the strongest spells are black holes which cheap, powerful and don’t hurt you, but anything they swallow is permanently gone.

So they become situationally very strong, e.g., in fights in outer space but very expensive when trying to fight in the depth of a planet's mines.

Questions:

  • How do you communicate an cost like this so players learn it instead of feeling cheated?
  • Should the cost be visible immediately (particle effects on block deletion) or discovered naturally?
  • Examples of other games where the best tool damages your own resources?

r/gamedesign • • 23h ago

Question The next frontier in game design theory?

22 Upvotes

Hello everyone, I wanted to ask about what you consider the most relevant and interesting game design theory that currently exists?

I also want to know what you would expect a game design master and doctorate level education to focus on and care about in terms of topics, areas of study etc. In other words what would you consider the next frontier in game design as a field of study?

(I currently work as an educator at a game design department, and the conversation came up and sparked intense debate between various different interests. My grounding is that this is best answered by practitioners and people who care deeply about the field outside of academia)


r/gamedesign • • 16h ago

Question How to know you’re designing in the right direction for horror?

3 Upvotes

I have a hobby project I’m working on and it’s my first foray into designing horror. Considering that fear and dread are the desired affect, how do you know you are heading in the right direction with a design when the affect relies on the synergy between so many aesthetic qualities (rendering/post process tricks/sound design, lighting, art direction). In other genres it’s easier to feel like if you’re on the right path earlier in the iterative loop, but in horror I may have a clear idea on how I want a certain section, level or narrative to be presented, but until all (or most) of the aesthetic pieces are in, I can’t know if the design decisions were correct.

How do you design around these unknowns?


r/gamedesign • • 16h ago

Question Non-elemental elemental advantage system ideas?

2 Upvotes

I am designing a cars game a la Yugioh/Magic the Gathering. Minda fantasy oriented, but machines or cyberpunk themes are present, ninjas, samurai, kinda random.

I want an elemental advantage system, but I am tired of traditional elemental advantage because it often makes lottle sense (fire melts ice, yeah, but enough ice will resist the fire and melt it into watwr so you have no fire left; how does a fairy beat a dragon?)

So I was thinking of nonelemental stuff but nothing quote fits.

My current ideas that need some work:

Physics based - light illuminates darkness, darkness does something to gravity, gravity swallows light? Maybe something with mater and antimater? I don't know enough about physics for this.

Ideology based - capitalism destroys feudalism, communism destroys capitalism, anarchy overtakes communism, tribalism/religion bring order to anarchy, feudalism takes power over tribalism/religion. Cant so this without people starting debating politics over playing the game, and why would a vampire or unicorm care about politics?

I would like a ywhere between 5 and 7 attributes/types.

Any ideas?

Thanks!


r/gamedesign • • 22h ago

Discussion Feedback on "gamified" exoplanet detection

5 Upvotes

I am working on a space exploration game with a more hard sci-fi perspective, where space travel happens at slower-than-light speed. I wanted to make exploration more meaningful, so I designed this mini-game that simulates the act of detecting exoplanets with something astronomers call the Transit method.

I wanted to created a space exploration equivalent of the Braindance gameplay in Cyberpunk 2077. Where you uncover clues by manipulating different video/audio/temperature timelines. I was inspired by the "Full Spectrum Scanner" mini-game in Elite Dangerous, as well as the real underlying process used in the real world. For those who don't know, the transit method consists in analysing the brightness of a star. When a planet moves across the star, the brightness of that star will diminish. Larger planets will cause a more noticeable blip.

You can watch a video of the "gameplay" via the first link here. In the game (/r/SineFine) you interpret an "artificial consciousness" with the task of finding a new habitable planet after humanity's extinction (!). When the game starts, your first task is to scan some of the neighbouring star system to find viable candidates. From the "galaxy map" you select a star system, "scan" it, and then after a few years you record enough observations, which allows you to play the mini-game shown in the video.

Depending on what you find, you then decide whether to plan a real mission by designing, building, and sending an interstellar probe to see what's the situation effectively like "on the ground". The video currently shows many physical characteristics but for the moment is for the debugging purposes. The intention is to make the amount of information revealed dependent on your technology level.

Mechanically, like the FSS of Elite consists in essentially aligning a cursor on a signal source, also here essentially you need to match two parameters to "detect" a planet. Although not necessary, there's a preferential order in terms of mass: once you detect a planet, it removes those observations from the dataset and makes detecting smaller ones easier.

I have added some "tools" to help the player. The intensity of the "orbital wind" VFX should help guide the player towards the right "epoch" (see the video for reference --- conceptually it represents all the potential orbits that a planet could have, you are inside the mind of a machine). The light curve chart shows which way to fine-tune it. In the case of smaller planets, as you can see at the end of the video it might be necessary to rely on visual alignment only.

I think this system can offer various possibilities:

  1. I can easily add fake signals and make the ease or difficulty of the detection dependent on the technology.
  2. Some of these fake signals could be things that are not planets, leading to potential narrative moments or new "quests".
  3. It still provides some element of "mystery", because while now everything is revealed, the next iteration will only reveal confidence ranges. Such as "this planet might have mass contained in this range, and is likely to be a hot barren planet given this distance from the star".
  4. It's a good way to showcase astronomical visual effects and fancy renderings!

However, I am afraid it could become tedious after the hundredth planet that you discover or that it is not engaging enough. Mechanically you are just moving a scrollbar, which is not entirely different from how FSS works in Elite. Of course parts of it could be eventually automated. Ideally, the final game will also have different detection methods in addition to this one, with different mechanics.

So here's the question for you. If you are able to spare a moment of your time and watch the video, what do you think of this interaction? Does it look potentially viable (we will include this in a successive play test we are going to run) ? Does it seem too easy or too hard?

Any suggestions or feedback to make it more interesting?

Thanks for reading so far!


r/gamedesign • • 10h ago

Video Subnautica inspired country life sim

0 Upvotes

I wanted to share my slice-of-life sim game where you play as a child helping their parents expand the homestead through completing narrative driven quests , exploring ruins and doing a bit of gardening and building !

The main twist is that the gameplay is similar to Subnautica in that you need to figure out how to proceed by paying attention to the world and exploring , however I designed in such a way that there are multiple ways to complete tasks so players don’t feel stuck!

It’s quite a controversial design but I’m working hard and play testing to make sure it is still coherent to follow but how can I do better ?

https://youtu.be/DrczII_eAHs?is=H9ctRYgfC_Wqysfs


r/gamedesign • • 1d ago

Question my sim has no script and players can't tell why a tribe collapsed. how do you make emergent outcomes readable?

11 Upvotes

i'm a solo dev on a civilization sandbox where nothing is scripted. stone age bands of people learn, settle, trade and fight on their own, and over a long run some tribes climb the eras and some die out. the player mostly watches and can nudge the world.

the design problem i keep hitting: the interesting stuff happens, but it's hard to read. a tribe vanishes and you don't know if it was a drought, a war, a bad split or just bad luck.

what i have now:

  • 13 map layers (borders, danger, food, wealth, moods, trade, history and so on)
  • click any person for a card with their story, traits, relations, memories and recent thoughts, plus a life log and family tree
  • a civ screen per tribe and a written chronicle of the world
  • thought bubbles over people, so you can see what they're doing right now

all of that is information, but it's not an explanation. you have to dig.

so my question: in games like this (dwarf fortress, rimworld, that family), what actually makes a collapse feel readable? is it a summary after the fact, warnings before it happens, or fewer layers that each say one clear thing? i'd love to hear from anyone who's tried to fix this in their own game.


r/gamedesign • • 14h ago

Question Bowldle - a daily bowling game

0 Upvotes

https://bowldle.com

I recently just finished designing this free browser based daily bowling game like wordle this week and wanted to see what improvements anyone would make. I am fairly new to game design and have a few ideas on how I can make this better I was just hoping to get some feedback and ideas from people who have some experience!

No AI was used to make this! Thank you!

Any feedback is awesome!


r/gamedesign • • 1d ago

Question Need advice: will stealth horror and lite grand strategy mix?

5 Upvotes

Hey guys, I’ve been working on a game that had a vision of mixing 2 genres that don’t typically come together. I’ve put prototypes for both games together and they look so different I’m not sure they will mix well.
Here’s the pitch: you dive into alien ruins to fetch tech; you then sell, research or use them to aid resistance. So one part of the game is very atmospheric action-stealth/horror, the other is a lite grand strategy (research upgrades, build up a base, conquer territories) with choices being: invest in tech that aids you underground or on the surface.
I envision it being a cross of X-COM, Alters and Aliens: Dark Descent. But while the parts work by themselves and share resources and some decisions, they just trigger such different parts of my brain and I’m not even sure there are players who can enjoy both. I love the idea and even appreciate mode-switching, but now I’m getting worried: is there even an audience for such a weird mix?
Help me out, folks, am I making a mistake and should just produce a normal specific-genre game? Or have you seen something like that actually working?


r/gamedesign • • 23h ago

Question I want to integrate Climate-Control in 2d game and this idea worth it?

0 Upvotes

I am developing a game right now. For the time system, I am using the player's local real-world time. This means when it is nighttime in real life, it will also be nighttime in the game. Does this make sense, or is it a good idea? 


r/gamedesign • • 18h ago

Discussion Does compressing open worlds into smaller, content-dense maps undermine their sense of scale and immersion?

0 Upvotes

I've been thinking about something that has bothered me about open-world game design for years: the tendency to compress enormous real-world locations into relatively small, densely packed maps, often sacrificing geographical authenticity in favor of constant stimulation.

I understand why developers do this. Most players probably don't want to spend 20 minutes driving through an uneventful forest or passing miles of farmland just to get from one location to another. Developers want to make sure there's always something interesting nearby, whether it's a landmark, an activity, an encounter, or some other point of interest.

But personally, I feel that this approach often undermines the very thing open worlds are supposed to provide: the feeling of exploring a large, believable, interconnected world.

Take urban open worlds, for example. In many games, you can drive from one end of a supposedly enormous metropolitan area to the other in just a few minutes. Entire neighborhoods are reduced to a handful of streets. Different landscapes and environments are compressed into tiny geographical areas. There's something interesting around practically every corner. For me personally this is not as exciting because it feels off.

As impressive as these worlds often are, they can end up feeling more like theme parks than actual places. They capture the highlights of a location, but not necessarily its geography, scale, or atmosphere.

For me, the seemingly boring spaces between interesting locations are just as important as the locations themselves.

Driving through miles of forest, farmland, suburbs, or otherwise unremarkable countryside isn't necessarily wasted time. Those stretches establish distance, geographical context, and a sense of scale. They make arriving somewhere feel meaningful because you've actually experienced the journey.

Among mainstream open-world games, I think Red Dead Redemption 2 handles this particularly well. Its world is obviously heavily compressed, but Rockstar managed to preserve a sense of wilderness and isolation. There are places where you can simply ride through the landscape without constantly being bombarded with activities or distractions. The world is allowed to breathe.

However, my personal gold standards for this kind of immersion are actually Microsoft Flight Simulator and Euro Truck Simulator 2 / American Truck Simulator.

Microsoft Flight Simulator is admittedly a special case. Recreating the entire planet at a 1:1 scale isn't really comparable to designing a traditional open world from scratch. But that's precisely what makes it so fascinating to me. You can experience the actual geographical relationships between places, the gradual transitions between landscapes, the sheer scale of cities, mountain ranges, forests, and entire countries. It's an experience that no conventional open-world game has ever quite replicated for me. The one that comes closest might be LA Noire with its more or less 1:1 scale recreation of parts of Los Angeles.

The Truck Simulator games are arguably an even more interesting example from a game design perspective.

Their maps are compressed to approximately 1:19 or 1:20 scale, yet they still manage to communicate an impressive sense of geographical scale and authenticity. Driving across several US states feels like an actual journey. You experience changing landscapes, regional differences, long stretches of relatively uneventful highways, and the gradual transition from one geographical region to another.

Obviously, these games make plenty of compromises themselves. But I think they demonstrate that geographical authenticity doesn't necessarily require a 1:1 recreation of the real world. It's also about how a world is structured, how distances are communicated, and how much room is given to the spaces between destinations.

This brings me to GTA VI.

I'm expecting it to be an incredibly impressive game, especially in terms of visual fidelity, environmental detail, and the sheer amount of work Rockstar is putting into its world. But I suspect it'll also continue the series' tradition of heavily compressing its real-world inspiration.

Vice City and the surrounding state of Leonida will presumably represent a condensed version of Miami and Florida, featuring the most recognizable landscapes, neighborhoods, and landmarks within a relatively small area.

And that's exactly what I find somewhat disappointing.

To me, an authentic representation of Florida isn't just Miami Beach, the Ocean Drive, downtown skyscrapers, and recognizable landmarks. It's also the seemingly endless stretches of swampland, agricultural fields, suburban sprawl, forests, and relatively uneventful roads.

Miles of empty Everglades or orange groves are just as much a part of Florida's identity as the neon lights of Miami Beach.

I would genuinely enjoy driving through those areas, even if there were absolutely nothing to do there.

Of course, I realize that GTA isn't trying to be a geographical simulator. Rockstar has to balance realism with entertainment, production costs, pacing, and the expectations of millions of players. A geographically realistic Florida would probably be completely impractical for a game like GTA.

I'm also not arguing that bigger maps are inherently better, or that developers should simply fill enormous worlds with repetitive procedural content.

My point is that spatial compression itself has a cost, and I think that cost is often underestimated when discussing open-world design.

We constantly talk about map size, graphical fidelity, interactivity, and content density. But I feel like we spend comparatively little time discussing whether the actual geographical structure of a virtual world is convincing.

Sometimes I wonder whether open-world design has become too focused on maximizing the amount of entertainment per square kilometer, rather than allowing the world itself to be the experience.

Perhaps the distinction is between designing a world primarily as a collection of interesting destinations and designing it as a believable geographical space that happens to contain interesting destinations.

I'd especially love to hear perspectives from people with experience in level design or open-world development, since I'm curious how developers approach this trade-off.


r/gamedesign • • 18h ago

Discussion Does compressing open worlds into smaller, content-dense maps undermine their sense of scale and immersion?

0 Upvotes

I've been thinking about something that has bothered me about open-world game design for years: the tendency to compress enormous real-world locations into relatively small, densely packed maps, often sacrificing geographical authenticity in favor of constant stimulation.

I understand why developers do this. Most players probably don't want to spend 20 minutes driving through an uneventful forest or passing miles of farmland just to get from one location to another. Developers want to make sure there's always something interesting nearby, whether it's a landmark, an activity, an encounter, or some other point of interest.

But personally, I feel that this approach often undermines the very thing open worlds are supposed to provide: the feeling of exploring a large, believable, interconnected world.

Take urban open worlds, for example. In many games, you can drive from one end of a supposedly enormous metropolitan area to the other in just a few minutes. Entire neighborhoods are reduced to a handful of streets. Different landscapes and environments are compressed into tiny geographical areas. There's something interesting around practically every corner. For me personally this is not as exciting because it feels off.

As impressive as these worlds often are, they can end up feeling more like theme parks than actual places. They capture the highlights of a location, but not necessarily its geography, scale, or atmosphere.

For me, the seemingly boring spaces between interesting locations are just as important as the locations themselves.

Driving through miles of forest, farmland, suburbs, or otherwise unremarkable countryside isn't necessarily wasted time. Those stretches establish distance, geographical context, and a sense of scale. They make arriving somewhere feel meaningful because you've actually experienced the journey.

Among mainstream open-world games, I think Red Dead Redemption 2 handles this particularly well. Its world is obviously heavily compressed, but Rockstar managed to preserve a sense of wilderness and isolation. There are places where you can simply ride through the landscape without constantly being bombarded with activities or distractions. The world is allowed to breathe.

However, my personal gold standards for this kind of immersion are actually Microsoft Flight Simulator and Euro Truck Simulator 2 / American Truck Simulator.

Microsoft Flight Simulator is admittedly a special case. Recreating the entire planet at a 1:1 scale isn't really comparable to designing a traditional open world from scratch. But that's precisely what makes it so fascinating to me. You can experience the actual geographical relationships between places, the gradual transitions between landscapes, the sheer scale of cities, mountain ranges, forests, and entire countries. It's an experience that no conventional open-world game has ever quite replicated for me. The one that comes closest might be LA Noire with its more or less 1:1 scale recreation of parts of Los Angeles.

The Truck Simulator games are arguably an even more interesting example from a game design perspective.

Their maps are compressed to approximately 1:19 or 1:20 scale, yet they still manage to communicate an impressive sense of geographical scale and authenticity. Driving across several US states feels like an actual journey. You experience changing landscapes, regional differences, long stretches of relatively uneventful highways, and the gradual transition from one geographical region to another.

Obviously, these games make plenty of compromises themselves. But I think they demonstrate that geographical authenticity doesn't necessarily require a 1:1 recreation of the real world. It's also about how a world is structured, how distances are communicated, and how much room is given to the spaces between destinations.

This brings me to GTA VI.

I'm expecting it to be an incredibly impressive game, especially in terms of visual fidelity, environmental detail, and the sheer amount of work Rockstar is putting into its world. But I suspect it'll also continue the series' tradition of heavily compressing its real-world inspiration.

Vice City and the surrounding state of Leonida will presumably represent a condensed version of Miami and Florida, featuring the most recognizable landscapes, neighborhoods, and landmarks within a relatively small area.

And that's exactly what I find somewhat disappointing.

To me, an authentic representation of Florida isn't just Miami Beach, the Ocean Drive, downtown skyscrapers, and recognizable landmarks. It's also the seemingly endless stretches of swampland, agricultural fields, suburban sprawl, forests, and relatively uneventful roads.

Miles of empty Everglades or orange groves are just as much a part of Florida's identity as the neon lights of Miami Beach.

I would genuinely enjoy driving through those areas, even if there were absolutely nothing to do there.

Of course, I realize that GTA isn't trying to be a geographical simulator. Rockstar has to balance realism with entertainment, production costs, pacing, and the expectations of millions of players. A geographically realistic Florida would probably be completely impractical for a game like GTA.

I'm also not arguing that bigger maps are inherently better, or that developers should simply fill enormous worlds with repetitive procedural content.

My point is that spatial compression itself has a cost, and I think that cost is often underestimated when discussing open-world design.

We constantly talk about map size, graphical fidelity, interactivity, and content density. But I feel like we spend comparatively little time discussing whether the actual geographical structure of a virtual world is convincing.

Sometimes I wonder whether open-world design has become too focused on maximizing the amount of entertainment per square kilometer, rather than allowing the world itself to be the experience.

Perhaps the distinction is between designing a world primarily as a collection of interesting destinations and designing it as a believable geographical space that happens to contain interesting destinations.

I'd especially love to hear perspectives from people with experience in level design or open-world development, since I'm curious how developers approach this trade-off.


r/gamedesign • • 1d ago

Question Fake Branching VS No Branching

18 Upvotes

We’re currently working on a puzzle game that has some dialogue sections in between, and we’re facing a dilemma.

During the SNF, we received two negative reviews from players who didn’t like having to choose what to say when those choices had no real impact on the gameplay. Branching dialogue wasn’t mentioned in any of the positive reviews, either positively or negatively.

So, I have a question: What would you prefer - fake branching or no branching at all, with dialogue simply playing out automatically? Each dialogue section lasts around 1–2 minutes.

Personally, I don’t mind dialogue choices having only a “local” impact in other games, like The Operator, for example. In my opinion, even if the choices don’t have any long-term consequences, they keep players more engaged and make them interact more with the game.

Please, help


r/gamedesign • • 1d ago

Discussion Post-Death Healing in Dragon's Dogma 2

8 Upvotes

I've been thinking about my time in Dragons Dogma 2 lately. I like a challenge but something I found was that the game didn't really deliver on it (for me personally), and it was in such a way that I lost interest in combat all-together at some point. Don't get me wrong, it's not like the game is easy, but I started to feel the difficulty was completely superficial once you learn a specific game mechanic.

The mechanic

This is not an actively explained game mechanic to my knowledge, but, if you take fatal damage, your character plays a short death animation before the "game over" screen comes up. In this time, you can actually use a consumable after you're already dead to revive your character.

Effect on gameplay

First, I didn't know about it and just accepted the "load from checkpoint". It was hard, a little tedious, but fun to put myself in the right headspace: avoid damage, manage your attack windows, ect. But after I learned about it, I thought, wow that's convenient. Death screens are annoying. So I would start popping a heal when I remembered to, or had one, after taking fatal damage.

But then, after a while, I got so good at spamming consumables it just made me extremely reckless. Taking damage was a non-issue for the most part, as long as you had consumables (and boy they give you a lot). And it eventually soured even the most epic boss fight victories. Nothing felt earned, it just felt inevitable and cheap.

And while consumable spamming is a thing in many games, most of them don't let you do it AFTER you died and you still have to care about your health bar and one hit kills.

My result

What's interesting I guess is that middle part. I started feeling like I don't want to go back to having to die and restart a fight, because it's kind of a waste of time, tedious, and I could just beat the boss after enough retries anyway. But it ended up making the game vastly less rewarding and fun in the end, and altered my playstyle.

A lot of people when faced with things like this just say "Well you can just choose not to do that if you don't think it's fun" (I hate hearing this as a game designer) And I often do, but its funny how hard it is to accept consequences and punishment when the game feels like it asks you every time if you would like to avoid them. As a player, I can't bring myself to do it, even if I know it would make the game more challenging and rewarding in a fun way.

I wanted to share this experience cause I think it gets at one of the more interesting parts of game design. We adjust difficult to make games satisfying and motivating to beat, not tedious or frustrating to play. That is the necessary side effect, and I always found the balancing act to be interesting and really one of the most difficult aspects of game design because there's no one-size-fits-all solution for every player.

And because of that, I can't even say this game mechanic is badly executed even though it did not work for me. A grace period for healing from fatal blows actually seems good out of context. It just really backfired in my case and I wonder how other players engaged with this mechanic and if it had positive or negative consequences on their playthrough. So please chime in if you used this while playing.


EDIT: I just have to mention, because another commenter brought this up and I completely forgot about it, but DD2 already has built in resurrection in the form of wakestones, a rare consumable. Being able to quickly heal after death and before the prompt asking if you want to use a wakestone actually seems like a bug or unintended action that stomps on what could otherwise be a deliberate game mechanic to allow a player to avoid being over-frustrated by loss. Very odd.


r/gamedesign • • 1d ago

Discussion Flow vs analysis

2 Upvotes

I've recently realized (part of) why I struggled with Hollow Knight/Silksong, Doom Eternal, and Mirror's Edge while loving the Metroid Prime series and feel that I've identified a "cursed problem" that lies at the root. You can't analytically explore a space and maintain constant, flowing motion at the same time. You're either moving or you're not. These are different kinds of play even if a game might switch periodically between them. It's the difference between a puzzlebox and riding a bike. Even if your can do both simultaneously, one of these games has to slide to the back of your brain and run on autopilot, which in some sense means you aren't actively playing that game.

I approach games (at least my first time through) wanting to step carefully through, teasing the game apart and learning the mechanics individually. I didn't realize how important it was to me to be able to control the pacing on my first run.

To specify, I am referring to Momentum tests that require the player to perform an action while their character is moving and punish players for interrupting the flow to get their bearings. There usually isn't a good way to reset after a failure, because you need to let the player back up, build momentum, and then take the test again. If you reset them in motion, it's not just confusing and unfun, it's not really testing their control of the motion.

The games that I feel best handled the tension are the Ori games, the Portal games, and the Astrobot games (demo and main title). The key design choice I can see is these games have an extremely low failure penalty and a very small loss of progress on reset. They intentionally allow the player to push themselves at their own pace. This allows the player to set momentum control more comfortably to the back of their brain and train muscle memory with minimal pressure until late into the games after they've built proficiency with the movement controls. Practicing is quick and failure is relatively painless.


r/gamedesign • • 1d ago

Question Growth stages design question

1 Upvotes

I'm in the process of adding the farming portion to my PC game and was trying to decide on 3 design choices for growth stages and would love some input.

  1. Player plants seed and a small mound appears then growth stages slowly begin leaving the player to remember what's planted in each mound or wait 'til it sprouts.
  2. Same as above but a popup if the player hovers over the mound showing what crop it is making remembering obsolete.
  3. Player plants seed and a small mound appears with a small growth showing what crop it is right away then rest of growth stages so it's immediately known.

And input would be appreciated.


r/gamedesign • • 1d ago

Question issues about procedual games

1 Upvotes

Hey there, Ive been working on dozens of gameconcepts for the past 7 years. All they have in common is that they contain some sort of simple generator or are fully based on complex algorithms. With my newest project I am semi capable of generating not just how assets build up the map but also generating the assets. With each new entry I notice the issues that have been hunting me down for many attempts to get worse.

The main problem is how the math makes the games less enjoyable. Runs get less predictable than less I directly gamedesign myself and I still cant really figure out proper ways to get it work. Might be just a skillissue

Also with infinite amount of content the value and meaning of everything is basically 0. instead of a couple strong npcs you get a million. even if they had the same quality you couldnt get them to feel as valueable

These projects turned from real games to complex experiments that no casual player could understand to play. It turned from "yeah this part was fun, that could be better" to "this is so cool, but i couldnt play this for more than 2 minutes" and there the advices get complicated because to fix that it mostly requires to put the whole design in the trashbin and do the gameplay yourself.

most iconic games i play dont impress me by the artistic brilliance or awesome sound design but by the mathematical concepts it used. sometimes i just buy the games because of 1 concept im fascinated of. be it the random terrain generation that i thought was straight up black magic 10 years ago to procedual physics. sometimes just the fact that it was made on a custom engine or had technical limitations being developed 30 years ago is a reason i get hooked. in comparison to the more technical projects under my belt theyre actually enjoyable.

a game i made about the terrain being generated with noise, the textures generated with noise and the soundtrack made with bytebeat algorithms would be freaking cool but technically a bad game because the content unmeaningful, the textures soulless and the soundtrack primitive. even I myself hated to play all of my games but also loved them because of the concepts that they had implemented. while im capable of doing art and sfx I basically dislike doing it since i feel like i dont learn anything new of it.

would be happy about some opinions/advice, i might be wrong or have contradicted myself here and there.


r/gamedesign • • 1d ago

Question How harsh should getting caught be when the fail state ends the round?

1 Upvotes

In my game, Pidgeon Pocket, you guide a few pigeons around a park to steal from tourists while cops patrol it. There are two penalties right now:

  1. If you get greedy close to a cop, they confiscate part of the loot. 2. Cops can net your pigeons, and losing your last pigeon ends the round on the spot.

The first one feels fair to me: it pushes you to read the cops and pick your moment instead of grabbing everything. The second one is the one I keep going back to. It creates real tension near the end, but when the round stops at once, a newer player might read it as the game taking everything away in a single moment.

Softer alternatives I can think of: a netted pigeon comes back after a few seconds instead of being gone, or the last capture costs loot instead of ending the round.

For those of you who have designed short rounds with a hard fail state: how did you decide between a hard stop and a softer penalty? Where do you draw the line between tension and frustration?


r/gamedesign • • 2d ago

Discussion Card Description: Must it be detailed?

5 Upvotes

We're making a deckbuilding game and have run into a UI/UX design question.

When a card's effects involve complex mechanics or chance-based outcomes, would you prefer to see every detail spelled out directly on the card, or have a simplified description with tooltips that explain the specifics when you hover over certain keywords?

For example:

Example 1: Chance-based effect

A. Detailed description

20% chance to deflect any incoming damage to the character.

B. Simplified description with a tooltip

Low chance to deflect any incoming damage to the character.

(Hovering over "Low chance" reveals the exact probability: 20%.)

Example 2: Scaling effect

A. Detailed description

Deal 1 damage. Permanently gain +1 damage for each enemy killed. Resets upon entering a new area.

B. Simplified description with tooltips

Deal 1 damage. Grow. Saved.

(Hovering over "Grow" reveals that the card gains +1 damage per enemy killed, while "Saved" explains that the bonus persists until entering a new area.)

We're trying to find the right balance between readability and giving players enough information to make informed decisions.


r/gamedesign • • 1d ago

Question A bit of a perplexing tile-set problem…

1 Upvotes

So when I am creating tile sets I am struggling to figure out how to design seamless patterns for the tiles that fit together well and also take inspiration from games like SMB3 without it being too much like copying. When I look to tutorials it’s often tough as they don’t go into detail about how to craft a tile pattern that works as a pattern if that makes sense. Sometimes my patterns are pretty much just a copy of like a tile set that exist like the grass tiles of SMB3. Not sure what to do.