Surprisingly, Hell Maiden marks a massive shift for the team. They’re taking the famous setting from Dante Alighieri’s Divine Comedy to create a horde survival rougelite deck-builder. It will be interesting to see how the team approaches this new genre. This is where we asked them about the game’s features, its tarot-inspired card system, when to expect the first demo, and if their iconic anime graphics will still be present.

In Hell Maiden, you play as Dante who inexplicably finds herself back in Hell after already reaching Paradiso, her memories completely wiped. Determined to claw her way back to Heaven and uncover the truth, she’s joined by the wise Roman poet Virgil and the saintly Beatrice. Your journey takes you through the nine Circles of Hell, where you’ll face swarms of fiends and bosses. You’ll build your arsenal by collecting, stacking, and merging tarot-inspired cards.

The game is set to release on PC via Steam with no current date, and the developers describe it as “Touhou meets Vampire Survivors”.

Hell Maiden is described as an original retelling to Dante Alighieri’s Divine Comedy. What inspired you to reimagine this classic work as a horde survival deck-building game with an anime-inspired twist?

The idea was initially proposed by our creative director, Kira (António Lopes), based on his own original character designs for two of the main characters of Dante’s Divine Comedy — Dante and Beatrice. This spontaneous character design exercise was what kicked everything off and led to the creation of Hell Maiden.

As fans of the horde survival genre and games such as Vampire Survivors and Halls of Torment, we decided to pair it with another much beloved genre among our team members, deck-building, to create an unlikely combination of mechanics that work surprisingly well together.

Anime being an integral part of our artistic expression, we couldn’t pass up the opportunity to reimagine Dante’s Divine Comedy with an all-female cast, which lines up perfectly with our studio’s previous titles. More than a retelling, Hell Maiden is mainly a sequel that picks up from where the original poem left off.

Your previous titles Pocket Mirror and Little Goody Two Shoes leaned heavily into horror and narrative-driven RPGs. What motivated the shift to a more action-packed genre?

The team had been itching to explore other genres that involved more action and fast-paced gameplay ever since the development of our previous title, Little Goody Two Shoes. While we’ll forever love the horror RPG genre and would be happy to revisit it in the future, we consider it’s the right time to expand our horizons and explore other genres, ideas and possibilities for our small studio. Personal taste and creative vision weren’t the only factors going into Hell Maiden’s creation and genre choice.

As an independent game development company, we feel ready to explore not only different creative avenues, but especially the possibility of self-publishing. After Little Goody Two Shoes, we decided to aim for a project that makes the most of our in-house strengths, skills and abilities in order to develop a game that’s more in line with what we can accomplish independently at this point in time.

Dante is portrayed as a female character who has lost her memories and is back in Hell after reaching Paradiso. What can you tell us about her character?

Hell Maiden’s Dante is rather different from the original poem’s protagonist: from her motivations to her circumstances. Contrary to the original Dante, our protagonist isn’t solely motivated by the prospect of meeting her beloved, Beatrice, in Paradiso and instead is moved by a strong sense of justice and determination to get to the bottom of why she was cast out of Heaven.

While the original poem’s protagonist personality encapsulates common and universal traits, our Dante is unreasonably determined, passionate and incredibly willful. She isn’t easily swayed by her emotions, nor is she intimidated by her opponents — no matter how tough. The one trait she does have in common with the original Dante, however, is her prideful nature.

The game features a cast of characters like Virgil, Beatrice, and the Poets of Limbo. How did you decide which figures from Divine Comedy and history to include?

Virgil and Beatrice are integral characters of the original poem and we couldn’t go without including them in our main cast. All other characters, however, were directly mentioned by Dante.

Right at the beginning of Inferno, Dante lists a series of virtuous poets, polymaths and philosophers (among others) from antiquity whom he admires. Virgil, Ovid, Homer, Lucan and Horace are among the most virtuous of all which made our decision to include them as the five main Poets of Limbo rather straightforward.

While Dante’s list is quite extensive, we’re taking our own liberties and including others with similar characteristics to the canonically included historical figures as well. The same doesn’t apply to the antagonists, however, as they’re all canonical residents of Hell.

The graphics feature that unique anime style you showcased in Little Goody Two Shoes. Do you now consider this your signature style, or is it simply a style you’re comfortable working with?

Our visual identity is very much intentional and unique to our studio — more specifically to our creative director, Kira, whose personal style in illustration and design shapes our games’ visuals. In that sense, it is very much our signature style although we collaborate with different artists for our games and often enjoy working with mixed media elements as well.

We’ve been experimenting with 3D as of recently, so there’s still plenty of room to experiment with and explore our signature style!

What’s the current state of the game, when can we expect its release, and when might the demo be available?

While we don’t have a release date yet, we’re currently working hard on a demo version of Hell Maiden which we’re hoping to release soon. In a general sense, the game is still in early development, but we’ll be keeping everyone updated with our every move!

Moving onto the gameplay, can you walk us through the process of designing the tarot-inspired card system? How do Spirit Cards, Weapon Cards, and Mod Cards work together?

Hell Maiden’s card system is meant to provide players with unique skills throughout each run. There are two types of Spirit Cards — Weapon and Mod Cards.

Weapon Cards empower players with unique skills and abilities. For example, Dante’s signature Weapon Card, “Blazing Quill’, unleashes a close ranged attack upon players’ targeted enemies. Other Weapon Cards include different abilities such as periodically summoned lightning bolts and spikes, energy spheres that surround Dante’s character sprite and damage surrounding enemies, projectiles, among others.

In order to enhance the chosen Weapon Cards, players will be able to equip them with Mod Cards which, as the name suggests, modify that weapon’s attacks — from increasing attack speed, damage and area, to imbuing them with status effects such as poison, burn, slow, etc.

We’re also developing other ways players can influence and diversify their runs with meta-progression mechanics, Spirit Cards you can acquire after defeating certain bosses, a perk system and more! We believe Hell Maiden’s deck-building will be exciting for players to tinker with and explore.

The Poets of Limbo, like Homer and Ovid, provide Blessings and Signature Weapons. What do these characters bring to the gameplay?

In one word — complexity. All Poets of Limbo have their own Signature Weapons which are unique to them. These open up a myriad of possibilities throughout each run by allowing players to experiment and tinker with different card combinations. The same applies to their Blessings which are character-themed card pools which offer Mod Cards that are unique to each Poet.

As such, players will be able to mix and match Weapon and Mod Cards from various different pools to create truly unique combinations. The more Poets players rescue from the depths of Hell, the more cards they’ll have at their disposal!

Do you plan to make Hell Maiden highly replayable to keep players returning, and since it’s releasing in Early Access, how often do you intend to update it?

Yes, we’re focusing a lot on replayability and making sure the game remains fun throughout with new cards, features and characters to unlock!

This also applies to the narrative’s progression — from side quests that further expand on the lore, to new interactions with the Poets of Limbo after each run and even new dialogue every time players revisit bosses they’ve already defeated.

Our plan for Early Access is to update the game regularly and keep a close relationship with our community to make sure we’re maintaining a good pace while simultaneously addressing players’ concerns, bug reports and suggestions. At this point in time, we cannot say how often we’ll be making updates, but we’ll most definitely keep everyone updated!

Is there a unique mechanic you’d like to highlight, something you’re particularly proud of?

Just like all our other titles, Hell Maiden is very near and dear to our hearts.

One of our flagship features for the game is its deck-building elements which bring a new and fresh take into the horde survival genre. We’ve been having a ton of fun playing around with the different combinations of attacks, buffs and enhancements this system allows for. It’s a really magical experience when the game you’re making turns out to be genuinely fun and compelling!

The addition of a complex and gripping narrative is also one of Hell Maiden’s unique features we’re most proud of as it’s something we haven’t seen being done before in the genre.

Dante’s Divine Comedy is the perfect fit for something like this and we’ve been having a lot of fun deconstructing and redesigning its narrative into something that’s playful and lighthearted while also retaining all the passion, earnestness and sincerity we’ve weaved into our previous titles’ storylines. All in all, we’re very excited about Hell Maiden as it’s allowing us to explore new possibilities while still retaining 100% of our identity, self expression and signature style.

Why did you decide to go with Early Access? What can you tell us about bosses and enemies we’lll face in the game?

There are two main reasons why we think Early Access is the right choice for Hell Maiden.

Having worked alongside publishers for previous two titles, we’ve reached a stage in which we feel ready to follow our own path and release a game independently. As such, our fans’ support is now more essential than ever as we’re relying solely on our growing community to take AstralShift further.

In that same vein, working alongside our community is priceless to us and Early Access allows us to do just that by involving players in the development process to a certain extent. As independent developers we’ll be able to freely take in and implement feedback from fans and keep a closer relationship with everyone on our own terms.

As for the opponents you’ll fight throughout the game all we can say is that we hope you’re good at bullet hell games!

What’s your view on the gaming industry overall? Are you seeking a publisher for Hell Maiden, or will you self-publish it?

Our goal is to self-publish Hell Maiden for both the sake of independence and autonomy, but also for financial reasons.

Game development was never easy, but it has recently become even tougher to stand out even when we do our best every day and we’re very glad that AstralShift’s charm continues to reach so many people even in today’s climate.

Now more than ever we need our fans’ support to be able to further grow our studio and continue to deliver what’s expected from us and what we love doing the most — creating immersive, visually stunning and narrative-driven gaming experiences!

The post AstralShift Reveals More About Hell Maiden, Project Which Combines Anime and Vampire Survivors Gameplay first appeared on IndieGames.

We delved deeper into the game’s world, exploring its sources of inspiration, from Croatian mythology to literary works. We discussed the key role of the Croatian Audiovisual Centre (HAVC) in its development, learned what to expect from the game itself, heard about their experiences at Croatian gaming events, and found out which platforms will host this unique creation.

You can find Dark Queen of Samobor on Steam. The Vincetić brothers are also very active on Discord, with the game’s release date set for 2026, while a playtest is expected early next year.

Can you introduce us to the studio’s name, who makes up the team, and how the idea for Black Queen came about?

We chose the name Downtown Game Studio to promote Osijek, specifically Donji Grad, where we’re from. It doesn’t quite make sense since "downtown" usually means a city’s business center, and we live in the suburbs, but it’s Donji Grad, so Downtown it is.

We founded the studio in 2019, and Crna kraljica (Black Queen) isn’t our first game, at least not for consoles and PC. Before that, we spent three years developing hypercasual mobile games. I started the studio with my brother and another programmer, who later left us. That’s when our current programmer, Aleksandar Baranji, joined. Interestingly, while we were working on mobile games, Aleksandar was independently developing his own projects. We met, teamed up, and together released around 30 mobile games.

We always wanted to create a more serious game and hoped to hit it big with at least one mobile title to fund that dream. Though we didn’t achieve that financial breakthrough, collaborating with major mobile game publishers over those years gave us invaluable experience and knowledge.

The idea for Crna kraljica dates back to 2021, when we first submitted it to a HAVC public call. We weren’t accepted then, so we shelved the project and continued with mobile games. The turning point came in 2023 when we resubmitted it to a HAVC call, which was accepted this time, granting us initial funds for pre-production. This encouraged us to fully commit—we ended contracts with mobile publishers and focused entirely on Crna kraljica.

Besides our core trio, we have an incredibly talented concept artist from Zagreb, Fran Domljan, still a student currently interning with us. We hope this grows into a long-term partnership after his internship ends.

How Did You Come Up with the Story?

Inspired by the dark atmosphere of the last-gen console game Inside, we decided to create a similar side-scrolling experience. The opportunity arose with a HAVC contest, prompting us to develop a Croatian fantasy story. Growing up with dark fantasy films like Conan and Disney’s Sleeping Beauty, crafting a story in that vein felt natural. Our initial idea was to focus on characters from Ivana Brlić Mažuranić’s works and build a fantasy world around them. However, after consulting with Daniel Rafaelić, a renowned Croatian film scholar and historian, we were advised to explore less familiar themes. This led us to Šenoa’s “Zmijska kraljica” (The Serpent Queen), a poem about Barbara Celjska, the ruler of Medvedgrad known as the Black Queen.

When Daniel recommended Šenoa’s poem about the Serpent Queen, everything clicked. We realized we could build our own story on those foundations. Šenoa’s epic tells of a crusader who, returning from a campaign, encounters the Black Queen, the ruler of his homeland. A tragic love story unfolds between him, the queen, and his new love, a young girl. Our story diverges significantly from Šenoa’s, but it retains key elements: the queen, the crusader, and the young girl.

Šenoa’s tale served as a springboard for our own vision. However, we didn’t want to limit ourselves to Šenoa alone. Characters, locations, and events are rooted in Croatian mythology and culture, though we don’t strictly adhere to geographical truths. For example, the mountainous part of the game might resemble Velebit, but the characters there draw inspiration from other sources. Our goal is to create a dark fantasy world grounded in Croatian roots, blending elements from various literary works, including some characters from Ivana Brlić Mažuranić’s stories—we haven’t fully abandoned her influence.

Recently, you introduced the character and enemy Grabar, where do you draw inspiration for its look, and how do you come up with ideas for character designs?

We discovered Grabar while researching modern literature on Croatian folk tales and mythologies. Though such literature is scarce here, we strive to find and study available sources. For example, Vida Balog’s Hrvatska bajoslovlja explores ancient beliefs before the arrival of Christianity. In certain parts of Croatia, these beliefs still linger, with older generations passing down stories of ancient beings, as some regions only later fell under Christian influence.

It was through these local testimonies that we learned about Grabara and their nature. Our vision of Grabara is closer to what locals call Vodenjaci. So, we didn’t strictly adhere to historical accuracy but drew inspiration instead. Our Grabara align more with the description of Vodenjaci from those tales, though we also include Vodenjaci in the game, also inspired by these stories.

We work hard to gather as many references from Croatian culture as possible. Daniel has been a great help, providing insights about the Black Queen and the historical context of her life. While we don’t strictly follow historical facts, we aim to weave as many elements from real Croatian medieval history into the game.

How Did the Collaboration with Sandra Lončarić, the Voice of the Black Queen, Begin?

Finding a voice for our Black Queen for the trailer turned out to be surprisingly easy, thanks to Daniel. We had a script ready for the trailer and knew we needed a voice, but we weren’t sure about the scope of collaboration for the whole game, nor how much it would cost or how much text would be involved.

Daniel asked who was providing the voice, and we admitted we didn’t know yet. He then suggested Sandra Lončarić, which seemed unreal to us at the time. The very next day, I spoke with Sandra over the phone and arranged a meeting. She loved the idea. We proposed she not only voice the trailer but also lend her voice to the Black Queen throughout the game, and she agreed.

I think Sandra recognized the potential in our game, and local patriotism likely helped since both she and we are from Osijek. She was immediately thrilled about the project, and we’re honored to work with her. The Black Queen is the main anti-hero in the game, driving the plot and serving as the primary antagonist. The player’s goal is to reach her and confront her, making her an incredibly important character.

What Can We Expect in the Game?

We’ve put special focus on “cinematic” moments, unforgettable scenes, and an engaging story. It’s a linear experience lasting 3-4 hours, meaning you can finish it in one slightly longer play session.

The game is divided into several chapters, each offering a unique atmosphere and a boss fight at the end. Each boss is inspired by characters from Croatian literature or legends. Defeating a boss unlocks a new ability that mirrors the defeated foe’s power. For example, there’s the Plague Witch, inspired by Šenoa’s “Kuginja kuća.” After beating her, she controls time, the player gains the ability to slow down time.

This is one of the first special abilities you’ll unlock, and you’ll need to use it in later chapters to solve puzzles and progress. We place a big emphasis on camera direction. Perspective shifts won’t be random; you can’t freely change the view. Instead, the camera is carefully directed from start to finish, with changes used to highlight elements in the environment or create dramatic effects.

One of our key mechanics is axe-throwing, clearly inspired by God of War. The axe is used in both combat and puzzles. Alongside it, players will gain other special abilities, whose exact designs we’re still developing. Each will be unique and useful when combined with combat and puzzles. You’ll be able to choose which abilities to use in fights. There won’t be heavy RPG elements like skill trees or extensive character development, as the focus is on the linear story. Think of our game as Inside, but instead of a boy, you play as a knight armed with an axe and magic.

You mentioned Neva as an inspiration, will there be seasonal changes?

Our game will use a similar principle of environmental shifts, but instead of seasonal changes, we’ll focus on the time of day. The idea is for the player to journey through an entire day, starting in the morning and ending in the deepest night. This will bring significant environmental changes, as you’ll pass through different biomes, like mountainous and forested areas. In swampy regions, for example, Grabar, monsters lurking beneath the water’s surface, will wait for the right moment to ambush an unwary player.

What other enemies can we expect to encounter during gameplay?

Besides Grabara, we can mention the Red Crows (Order of the Crow), as we’ve named them, ninja-like warriors shown in the trailer. They are one of the Black Queen’s units, tasked with patrolling and guarding a section of the forest the player traverses. Known for using various traps and devices, they avoid direct confrontation, aiming to slow the enemy with obstacles. Of course, they’re also highly skilled in combat. All enemies will have different variants. For instance, within the Red Crows, we have light, heavy, melee, and ranged versions. Additionally, each new biome will introduce new enemy types. While the Red Crows inhabit the forest, the mountainous areas will feature entirely new creatures and beings.

To What Extent Has HAVC Supported This Project?

I often emphasize that without the Croatian Audiovisual Centre (HAVC), our game wouldn’t exist. While the financial support we received from HAVC was crucial for pre-production, its true value lies in something much deeper. Game development is an incredibly expensive process, so the recognition and backing from an institution with such experience and expertise were key. It gave us the real push to start this project. Of course, without the financial help, we couldn’t have begun, but the collaboration with HAVC offers so much more, including promotion and support. We’re truly grateful for everything they do for us.

I’d absolutely recommend that anyone with a development idea give it a try and not let bureaucracy or paperwork scare them off. The application process is actually simpler than it seems. I can confirm that Benjamin Noah Marićak from HAVC is incredibly approachable and ready to assist with everything needed during the application. This kind of support is incredibly valuable for the entire gaming community. The more quality projects we submit to HAVC, the more funding will flow back into the industry.

So, submitting an idea can’t hurt, and you might gain financial support, media exposure, mentorship, and key assistance for developing your own game. Therefore, I strongly encourage everyone to apply.

Are You Considering Launching a Kickstarter Campaign and Looking for a Publisher?

We’re currently preparing for a Kickstarter campaign set to start in early September, mainly to secure funding for further game development. At the same time, we’re actively seeking publishers and are in talks with several. If we secure funding through a publisher, the Kickstarter might not be necessary, but we’re not counting on that.

As a studio, you’ve attended the biggest gaming events in Croatia, what have been some of your experiences?

Participating in festivals like InfoGamer in Zagreb, the region’s largest indie game event, and Reboot Develop Blue in Dubrovnik, one of the world’s biggest gatherings, has proven invaluable for getting feedback on our game. At every conference and festival we attended, we brought a game prototype on a laptop, letting visitors try it out and share their impressions. Getting feedback this early in development is crucial.

For example, we’d arrive in Zagreb with one version, gather feedback, implement it, and then bring an improved version for another round of testing. Through this process, we found numerous bugs and received great suggestions that we added to the game. This is the primary benefit of such events, alongside the added exposure and visibility.

We were also featured on the Best Indie Game channel back in January. We weren’t sure how they found us, but they ranked us 25th on their top 25 list of new side-scrolling games. It was perfect since we were at the start of the video, and on the same day it was released, we gained 500-600 new wishlists from that single video. Recently, we applied again to his showcase, where he personally selects games he likes, and we made the cut. I can confirm firsthand that showcasing on bigger channels is worth it, as it definitely boosts visibility.

Where Will Dark Queen Be Playable? Can We Expect a Demo Version on Steam?

We’re primarily developing the game for PC, but our goal is to release it on all consoles—PlayStation, Xbox, and Switch. Whether we succeed will depend on our financial situation and potential partnerships with publishers who can support us. We think our game would fit perfectly on Switch 2, especially now that it’s out.

We plan to release a demo on Steam next year, closer to the game’s launch. We want to maintain good momentum between the demo and the full release, so it will likely be available during Steam Next Fest, about a year from now.

However, players will get to try the game earlier. This year, we’re planning a closed alpha test with part of the community, followed by a more open beta in the second or third month of next year. Only then, next summer, will the official demo hit Steam.

The post Josip Vincetić revealed what to expect in Dark Queen of Samobor, an adventure inspired by Croatian mythology first appeared on IndieGames.

You begin as a nobody, traveling to the settlement of Garkai, with no overarching main storyline. Instead, the game emphasizes emergent narrative, where your choices shape the world through interactions with hundreds of unique NPCs, faction alliances, and quests. Deep character customization like race, attributes, traits, and starting faction unlocks varied dialogue and consequences, affecting how NPCs trust or distrust you.

A really interesting thing about Ardenfall is that it skips traditional quest markers. Instead, it uses a “ring of interest” on the map to guide lost players, mimicking Morrowind’s exploration-driven approach. Every NPC home is enterable, and you can steal items. Beyond standard weapons, you can use unconventional tools like a “potion of silence” for stealth kills or a throwing knife of fire.

The project began in 2017 with a couple of college students. Since then, they’ve gained new teammates and released an Ardenfall demo in 2022, which was a great success. Thousands of players tested the game, leading to a total of 30,000 wishlists on Steam.

What inspired Ardenfall, and what kind of RPG are you aiming for? How much freedom will players have in the game?

Ardenfall’s largest inspirations are classic action RPGs such as Morrowind and Fallout New Vegas. We’re aiming for an RPG that promotes reactivity and player choice through dialog, branching quests, and sandbox gameplay. Players will be able to enter any building (and rob the inhabitants blind), build a reputation with everyone in the world (or go the evil route and kill all characters, even “essential” NPCs). Our goal is to drop as many boundaries as we can, and allow players to experiment and play their own way!

How big is the team, and when do you plan to release Ardenfall?

Our core team is five devs, with a handful of support devs and voice actors. We’re planning to release Ardenfall into Early Access on Steam in late 2025.

The Steam demo is available, what does it include, and how will it compare to the full game?

Our 2022 demo includes a large region, a town with 40 NPCs, several quests, and multiple dungeons. It’s a considerably large area! But with the early access launch, the game will be over 4x the size, with a lot more density, quality, and features.

Beyond the demo, we’ve put a ton of focus on creating quests and locations that flesh out our world further, giving players a better look into the history, magic, and politics of Ardenfall and beyond. As we’ve added new towns, dungeons, and regions, we’ve ensured a high replayability and changes to the world players can create. New features will be present in the game – alchemy, expanded spells and potions, new enemies, durability and repairing, dodging and improved combat, and more.

After the initial release of the Early Access, we have a roadmap that involves expanding the world, introducing a perk system, guilds, and more. We’re incredibly excited to have players fully explore the world we’ve made so far, and look forward to growing the game based on feedback from the community.

Indie RPGs often face ambition vs. resource challenges. What’s been the toughest hurdle for Ardenfall, and how did you tackle it?

Developing Ardenfall has absolutely been a challenge for our small team. It started out as a passion project and has remained so, and thus funding was never an issue. We started off as students without any industry experience but simply had the desire to create a unique experience to fill an RPG niche that we felt was missing for over a decade. The journey has been the most important aspect as we continued to learn new things and it was exciting to adapt and evolve to make the game better in all aspects of design.

Project management and creating deadlines for ourselves have been a great challenge. The first six years were focused on building the engine and tech to support building the vast world we had imagined. We tried several different options to document and track project goals and shifted a ton. In the end we landed on something that was most accessible and easy to document using shared cloud drives and communicating with frequent check-ins with work sessions sometimes spanning hours long into the night.

The documentation process has been the most important aspect as we narrowed down each project’s scope, discovered gaps, and prioritized what’s needed for the next phase. This hasn’t been perfect, but over time we’ve learned what’s needed and what can be de–prioritized for later.

Tell us more about the alien world of Ardenfall. What factions and characters will we encounter?

Ardenfall doesn’t feel like an adventure you’ve had before – we’re inspired by Eastern Asian / South Eastern Asian and other cultures (in large part due to much of the team being from these cultures), that are less common in western RPGs, and have the goal to create a world that is both alien and grounded as if it could be a real place. Instead of each fantasy race having a single monoculture like many fantasy worlds, Ardenfall has a lot of subcultures that bounce off each other in interesting ways both in lore and in game.

The island of Ardenfall is controlled by several native clans, from wannabe techno-imperialists to militaristic isolationists to wine peddling slavers. This power is in question due to a foreign empire introducing a boon of trade, wealth, and law into the land of Ardenfall. Two of the three clans have succumbed to the will of this empire – what will happen next will be affected by the player.

How important are race, tattoos, attributes, and traits in character creation? Do they significantly impact gameplay? Can you give an example?

Character creation is very important for the gameplay that will follow.

• Attributes are your core stats – Strength, intelligence, agility, and charisma. These values are essentially set in stone, with some rare items giving boosts, and some even rarer ways to increase them permanently.
• Skills are more flexible – Your initial skill values are affected by your major skills that you choose, combined with relevant attribute values. If you have a high strength, then you’ll have higher weapon skills, and if you have higher intelligence, then you’ll have higher magic related skills.
• The player race will both affect how others see you – Characters will mention your race, some will give snide remarks, and others may even refuse to talk to you), as well as give special stat modifiers: Karu Elves are adept at stealth, while Obsidian Dwarves are great at wearing Heavy Armor.
• Traits are used to unlock dialog interactions – Perhaps you’ll use a “Criminal” trait to scare someone into giving you money, a “Scholar” trait to learn additional lore, or the “Mechanics” trait to repair a machine.

At the end of the day, pretty much every stat is used in dialog options, when interacting with objects in the world and completing quests, and of course during battle.

What can we expect from combat? Is it similar to Avowed or Elder Scrolls? Any standout mechanics you’d like to point out from the trailer?

The design for combat is built around sandbox elements with an array of different play styles in a first person view. The player is free to use swords, magic, stealth, throwing potions and much more at any time. The player can still specialize in skills to unlock each weapon’s full potential but there are no hard requirements preventing players from using items outright.

Something we avoid compared to some RPGs is a hard level requirement for equipping items – this goes against our design philosophy of player freedom. Rather than gamifying the requirements, the weapons may just be less effective if skill requirements aren’t high enough.

Combat itself is meant to feel dynamic and fluid between different enemy types. Monsters can teleport, dash, or dig to maneuver around the player. The goal is to keep the player on edge, switching between different combat tools like throwing potions to poison or stun enemies, casting a levitation spell to gain high ground, or pushing enemies away with a gust of wind magic. There are a lot of different approaches to combat and the design is built around freely experimenting and discovering fun ways to defeat enemies.

The environment introduces complexity as well – rain or water will apply wetness, which cancels out fire damage, but increases shock damage. Fighting enemies or running around in the dirt may make you dirty, which will reduce many npc’s opinions on you – getting wet or using soap will clean you right up.

How do NPCs influence gameplay? Do they offer quests, protection, or act as mercenaries? It seems stealing is really emphasized in the game, something we rarely see nowadays.

NPCs in Ardenfall are incredibly important. Many provide quests, act as traders, or offer fast travel for a price. Players will come across a variety of NPCs where increasing reputation can lead to economic gain, unlock rewards that have permanent effects on the player. Gaining favor from one faction can result in a betrayal from another, locking away options and unlocking others. All this creates a truly reactive world with consequences that can be rewarding or punishing depending on player actions. This allows for high replayability as NPC faction and reputation systems can open or close doors to the player.

The stealing aspect is really important as there is various tech involved to ensure items are “owned” by a particular NPC. A fun thing we discovered through building the system is not only can you pickpocket an NPC, the reverse can be done as well, such as putting an item into an NPCs inventory. I wonder what will happen if you place a potion of explosion in someone’s pocket? Only one way to find out!

How significant are the political and economic aspects of the game? Will players have the ability to rebuild or construct new cities?

Ardenfall’s world is shaped by a web of political and economic histories, interconnected across factions and eras. The largest way players will be interacting with these concepts is through quests and dialog – you aren’t merely sent on a quest to collect an old ring, but instead you may be sent to assassinate a political opponent, erase wrongdoings of allies, or find yourself being merely a pawn.

Players can affect the world in large (and sometimes quite visually stunning) ways, changing how characters react to you, unlocking new quests, and even altering the economy. Prices on certain items will rise and fall depending on your decisions, affecting both yourself and others.

What can we find in the dungeons?

Dungeons are the best place for players to find dangerous monsters to slay, and rare and unique items to help you along your journey. Each dungeon is handcrafted, with many being quite expansive – secret rooms, hidden treasure, and glimpses of an ancient world await those brave enough to explore.

The low-poly art style looks amazing. How did you choose it, and how does it shape the game’s tone?

In a way, you could say that Ardenfall’s art style is utilitarian – dropping most textures and embracing a non-realistic artstyle allowed us to produce more models, necessary for such a large game!

We try to push the brightness and saturation of the colors, especially the fog and sky. The stylized look also lends a more abstract feel to the game, allowing us more flexibility with game systems that would look goofy and out of place in a graphically realistic world.

The tone of Ardenfall is a blend of serious and light hearted. Our world often takes itself pretty seriously, but not in a dark fantasy blood-and-guts everywhere sort of way – instead we are more interested in presenting a very beautiful and rich world, and showcasing equally beautiful and rich cultures, while also presenting their flaws and dangers.

With so many RPGs releasing every year, how will Ardenfall stand out? What do you think will attract players most?

We believe Ardenfall can stand on its own even in this current market. The “total freedom” aspect is very important to us, as is the reduction in hand-holding, both of which we view as a clear desire for certain groups of players.

Our dream is for players to fall in love with this world as deeply as we have. There’s something magical about stepping into a bustling inn, the light of two moons spilling through the bamboo windows, while the cheerful rhythm of jelly drums drowns out the distant cries of beasts in the wilderness. After braving temple ruins and cutting down ancient horrors, there’s no better reward than a strong drink and a slurred conversation with the locals. Rest well – tomorrow, anything could happen.

The post Morrowind-style RPG Ardenfall comes alive in our developer interview first appeared on IndieGames.

Some of the game scenes are actual reconstructions of places you can still visit today, while others are faithful recreations of typical locations from that era, such as a newspaper editorial office, a writer’s study, or an industrialist’s private garden. But the love for historical accuracy goes much further: the way people speak, the objects the player can use, and even the murder cases themselves are all appropriate to the time and place.

With multiple endings that change based on your choices, this title blends historical atmosphere and classic adventure mechanics. In case you’re wondering how it all works, you can also try out the demo right now on Steam. We recently had a chance to chat with Gregor and dive deeper into the game. He told us all about the game mechanics, the meaning behind its name, why he chose pixel art, his Kickstarter campaign, and his experience working as a solo developer.

Additionally, Casebook 1899 – The Leipzig Murders is set for a 2025 PC release on Steam and GOG.

What inspired you to create Casebook 1899 – The Leipzig Murders, and why did you choose a detective adventure set in 1899 Leipzig?

Leipzig is the city I live in, and I’ve always been fascinated by its history. The period around the end of the 19th century is particularly compelling, as the city was undergoing rapid growth. Technological advancements and social upheavals during that time offer rich potential for conflict and complex moral dilemmas, perfect ingredients for crime fiction. It felt like the ideal setting for a detective story.

What’s the significance behind the game’s title, Casebook 1899?

The title Casebook 1899 – The Leipzig Murders is intentionally descriptive, giving players a clear idea of what to expect. The “casebook” is a central gameplay element, a notebook where players collect and combine clues. It’s the most-used tool in the game and essential to solving each case.

Is there a deeper philosophical meaning or theme woven into the game’s narrative?

Yes. As players progress, they’ll encounter themes centered around the nature of truth and the extent of free will. The game offers complete freedom in how each case is resolved, even allowing players to conclude that no crime occurred at all, attributing events to a series of strange coincidences. Ultimately, players must take responsibility for their interpretations and decisions.

The game is described as a “richly atmospheric” point-and-click adventure. How did you craft the late 19th-century Leipzig setting to immerse players?

I used a wealth of historical photographs and postcards from the late 19th century as references to recreate key locations. Some iconic landmarks still exist today, while others, lost during World War II or later, are brought back to life in the game. The postcards were especially helpful because they’re in color, unlike the black-and-white photos of the era. I also paid close attention to sound design, crafting a realistic soundscape for each location to help players feel as though they’re truly wandering through a bustling city at the turn of the century.

Did you conduct any historical research to ensure the settings and characters feel authentic to the period?

Absolutely. The characters speak in carefully crafted language appropriate to the time. For instance, I avoided using modern German terms that didn’t exist in 1899. Characters also interact with the protagonist in ways that reflect their social standing, whether above or below that of a police detective. Social status even affects gameplay: while the protagonist’s companion, a public prosecutor, may enter a stately villa through the front door, the detective must use the servants’ entrance, after solving a puzzle, of course.

Can you describe Detective Joseph Kreiser’s personality, motivations, and how players will connect with him?

Joseph Kreiser is a skilled conversationalist who excels at getting people to open up. He has a keen sense for detecting lies and genuinely understands people. He’s deeply committed to his work and values truth, which makes the moral decisions he faces later in the game especially difficult. His strengths in dialogue over investigation are reflected in gameplay – he can ask his companion to help spot clues. But relying too much on others can also become a limitation.

Could you provide a brief overview of the game’s core mechanics? How significant are player choices, and do they lead to multiple endings?

In Casebook 1899, each case typically unfolds like this: you investigate a crime scene or suspect’s location for clues, perform tasks to gain access to new conversations, and then question characters to uncover more information. All clues are recorded in your notebook. Eventually, you’ll piece together these clues on a “mind palace”-style case board. For each node, you must choose between two possible interpretations based on your intuition and reasoning. These choices lead to different outcomes, some players may even conclude that no crime occurred at all. But in every case, the player must own their conclusions.

Why did you choose a retro pixel-art style for Casebook 1899?

There are two main reasons. First, I love the classic LucasArts adventures of the 1990s – I grew up with Fate of Atlantis, Monkey Island, and others. The visual style also draws inspiration from Sherlock Holmes: The Case of the Serrated Scalpel. Second, I believe this aesthetic resonates with players in my age group who appreciate grounded, thoughtful adventures. Pixel art also appeals to fans of “cozy games,” and while Casebook 1899 isn’t strictly cozy, it’s definitely cozy-adjacent.

As a solo developer, what were the biggest challenges you faced during development?

Honestly, the biggest challenge was finding time. Despite the Kickstarter funding, this remains a hobby project, and balancing it with a full-time job is tough. I also faced personal setbacks, including job loss and family mournings, which caused delays. What kept me going was the supportive community of fans and fellow developers who encourage and inspire each other.

Working solo can be isolating. How did you stay motivated through the “countless late nights” of development?

I often say that Kickstarter is both a blessing and a curse. Without the nearly 500 backers eagerly awaiting the game, I might have abandoned the project, not because I didn’t believe in it, but because it’s so demanding. Knowing that so many people believe in me helps me push through even when I’m struggling. I also recommend regularly exhibiting your game, seeing people enjoy it at events and fairs is incredibly energizing and keeps me motivated for weeks afterward.

Your 2022 Kickstarter campaign was successful. Were you surprised by its reception, and how did the funding impact development?

The game wouldn’t exist without crowdfunding. I always envisioned it as fully voiced, and I needed funds for music, sound effects, and other assets. I initially planned the campaign for February 2022 but realized I needed to build an audience first, so I delayed it until July. I spent that time carefully planning the campaign, including livestreams and interviews. So while the success wasn’t entirely surprising, it was close, things only really took off when I added a physical boxed edition as a reward.

A free demo of the first case is available on Steam. How has player feedback been influencing the final version of the game?

The public demo has since been shortened, but many players tried it and provided valuable feedback. That feedback continues to shape the game, especially in terms of puzzle signposting, which can vary by language. Now that the game is fully voiced, the broader structure is largely set, but I’m still refining the experience based on what players share.

Looking back, is there anything you would have done differently in designing, crowdfunding, or managing Casebook 1899 as a solo developer?

I made the classic mistake that many first-time developers do: I massively overscoped. This project turned out to be far too ambitious for a solo debut. With 5 to 9 hours of playtime, depending on the player’s skill and style, it became much longer than I initially anticipated. That said, I didn’t include any filler. There are no repeated puzzles or mini-games; every challenge in the game serves a specific narrative or gameplay purpose. So in a way, the game had to become what it is. I just wish it had been my third or fourth project instead of my first.

But if I had done things differently, I wouldn’t have learned nearly as much. So in the end, no, I wouldn’t change a thing.

The post Gregor Müller on Casebook 1899: The Leipzig Murders, a Point-and-Click Detective Game first appeared on IndieGames.

The primary reason for its success is its endless replayability. With over 400 cards, 10 pilots, and interesting Chrono Tokens that let you rewind time, it cleverly blends elements from Space Invaders, Slay the Spire, and Into the Breach for endless fun. We had a chance to chat with the lead designer of StarVaders who revealed more about the game, its unexpected success, challenges they faced and what they think of the gaming industry in general.

You can also read our detailed review here. Additionally, don’t forget to support the devs by checking the game on Steam.

Can you introduce your studio and share how long StarVaders has been in development? 

Our team started out as friends long before we formed Pengonauts. We’ve worked on a slew of projects together in the form of game jams, discarded prototypes, and abandoned ideas before we decided to commit to StarVaders as our first commercial project.

StarVaders was started as a side project for all of us while we worked our regular day jobs. But thanks to the momentum it organically picked up, we were fortunate enough to be able to make the leap to full-time development in 2023.

Have you ever struggled while playtesting StarVaders, and what was the toughest challenge for you personally? 

It takes a lot of time to playtest. Especially in a game as varied with as many combinations as ours – there are more combinations of card pools than we can realistically play. What helped us a lot is having a large and dedicated group of beta testers help us refine the game.

What’s your vision for the ideal roguelite deckbuilder, and how close did StarVaders come to that goal? 

StarVaders completes the goal for us. We set out to create what we wanted to see in the genre, and there is nothing that was left on the cutting floor or that we couldn’t implement.

What inspired StarVaders’ concept, and how did you balance its difficulty levels to keep them challenging yet fair? 

The original concept was inspired by two boardgames, Bullet and Under Falling Skies. Balance – no idea honestly, it is very hard to balance a game and we kinda just went by feeling and intuition most of the time.

Can you share a key moment in StarVaders’ development where the team overcame a major obstacle? 

We had a lot of trouble marketing the game – it was tough to showcase how interesting the gameplay is without getting players hands on it. So we really focused on promoting and creating a very extensive demo for players.

With around 400 cards and artifacts in StarVaders, how did you brainstorm and design their unique effects? 

The sheer power of time, working almost 3 years on the project gives a lot of time to come up with ideas and effects. I always try to think of the wackiest effects we could add in the game, and then try it out to see if it’s possible.

Do you have data on which mech or character is the most popular among players? 

It’s hard to say at the moment because the characters unlock at different times during a playthrough – Roxy will be the most played pilot because she is the first one. I know many players love Stinger because of the melee ninja fantasy. Noel is also a fan favorite because of the characterization.

The Chrono Token mechanic feels unique, when was it added, and what inspired its inclusion? 

Very very early, we wanted a way to mitigate all forms of input randomness, for the player to have extra control over it. One of the worst feelings in a deck builder is when the “RNG” deals you a bad hand or gives you bad options, so we wanted players to have a resource to control that system.

How replayable is StarVaders, and what elements drive players to keep coming back? 

There are thousands and thousands of synergies and combos to discover in the game. Every time I play the game I still discover new synergies I hadn’t thought of before, even though I’m the lead designer and have played thousands of runs already. There’s a creative sandbox that allows players who want to explore the intricacies of the mechanics to really thrive.

What updates or content can players expect from StarVaders after its launch? 

We are working on new content, but nothing confirmed at the moment.

Do you view StarVaders as a success for your studio, and why? 

It has always been a success for us, but it’s really been amazing to see the reception from our playerbase, after release it has been a much bigger success than we could have ever originally imagined.

What’s your take on the gaming industry today, especially the indie game scene? 

It’s really really tough. I see a lot of studios just like us, with their first games, putting their passion and soul into their games and coming out with nothing. Even though our game is doing well, it could easily have been a financial failure if the players didn’t connect with it at the current level. It feels like, to succeed, you must be an exception or an outlier, and you can never really bet on that. Though maybe it always did take a little delusion and risk to make games.

The post Why StarVaders Succeeded? Lead Designer Shares Insights first appeared on IndieGames.

Kulebra and the Souls of Limbo is a 3D adventure game where you embody Kulebra, a skeletal snake, in a Latin American-inspired afterlife called Limbo. Under the guidance of a mysterious Old Lady, you’ll explore papercraft-style settings, solving puzzles, gathering clues, and using stealth to aid the residents in moving on. Crucially, these souls are trapped in a 24-hour time loop, repeating their days due to unresolved regrets, trauma, and loss.

We explored brothers perspective on Game Pass and the indie gaming scene, what players can expect from Kulebra, and the core message they hope players will take away. You can find Kulebra and the Souls of Limbo on PC via Steam, Xbox Series X/S, and Nintendo Switch.

Can you share the origin story of Galla Games? What inspired you both to leave the Dominican Republic and pursue game development in the United States, and how did that journey shape Kulebra and the Souls of Limbo?

Originally we started the studio in the Dominican Republic, over the particular coincidence of me (Paulo Lara) being an artist, who had a strong affinity for video game art. And Pavel Lara developed a strong interest in programming at the time, completely focused on video games. 

Besides us being huge video game “nerds,” we had very similar tastes when it came to media in general. So we decided that this was a great opportunity to explore the idea of developing games. And so we gave it a chance, starting with something fairly simple. 

Then through our mother, the opportunity to come to the United States became a possibility. It seemed like a great place to expand as developers, since the video games’ market in the Dominican Republic was non-existent back then. So we decided to take the opportunity and continue with our project here in the United States. And after some failed projects, reinventing ourselves in many ways, and some good surprises… Here we are!

An important question, as brothers, did you ever have disagreements or arguments when you were working on the game together?

We’ve had our minor differences here and there, but honestly, nothing outstanding. And thankfully, none of those have come from a bad place. We always try to push our ideas in the belief that  will increase the quality of the project. And as time goes on these disagreements have become less common and less impactful when it comes to game making decisions. It’s important to be flexible and open to each other’s opinions in order to have a proactive flow as developers. 

Which games, films, or other media inspired Kulebra and the Souls of Limbo? Were there specific titles that shaped its cozy yet emotional tone or its focus on helping others?

I can surely mention games like Ace Attorney, Paper Mario, and Professor Layton. But our main inspiration for the game was The Legend of Zelda Majora’s Mask. Especially the side quest elements of said game. They set a level of immersion that we can only hope to achieve.

From the changes in the environment as the time goes by, to the characters’ many surprises around this same schedule. One that may surprise you is Resident Evil as an inspiration source. A lot of the puzzle elements in Kulebra and the Souls of Limbo come from Resident Evil, believe it or not! I’ve personally noticed that once you remove the horror elements from this puzzle structure, it can make for a very cathartic experience when solving puzzles.

So we try to achieve a similar result through our game. Having difficult puzzles is not our goal in this case, but to make them engaging and fun as the player uncovers the story of the game.

Latin American folklore, particularly Day of the Dead aesthetics, plays a big role in the game’s world. Were there specific cultural elements you wanted to highlight?

I wouldn’t say so, the elements are there, but we’d much rather prefer to use the cultural elements as a vehicle to flesh out our characters and how each one of them have their own worlds within this shared environment and culture.  Although most of the game’s cultural influence has a Day of the Dead theme, we take some elements from the Dominican culture as well! I won’t spoil anything, but I sure hope some Dominican players get to spot these!

What is the game’s core message, and can you briefly introduce us to the main mechanics?

The game’s core message focuses on both the power of empathy and kindness, and the importance of doing the right thing, despite the sacrifices that it may bring. As for the main mechanics of the game, we have the time-loop and your trusty notebook.

Each soul trapped in Limbo has a set routine throughout the day, and you can gather information and items by talking with them and exploring the world. At the end of a day, everything resets, but you get to keep your knowledge and most of your items. Your goal will be to use everything you gather to figure out what’s needed to help the souls with their issues. You can think of it as doing some “detective work” in the afterlife.

There will also be many extra challenges on top of what I mentioned before that will give each of the game’s chapters their own flavor.

How challenging will the puzzles be, and what kind of stealth gameplay can players expect?

As briefly mentioned in a previous question, I would say that the puzzles do not focus on being challenging, but they’re more about having fun while you uncover the mysteries around Limbo. But I’m sure that our puzzles will have some cool twists to keep the experience fresh and interesting.

The stealth is a fairly common element in the game, more than we would have ever expected during the early days of development. The stealth is quite varied, in the sense that you may find some stealth sections to be very casual, but others may be the difference between “life or death”. So you can’t always let your guard down when exploring the world of Limbo! 

How does the day/night (or time) cycle impact gameplay?

A lot! In fact, most puzzles, and probably all the detective work that the player will be doing will in one way or another roll around the time mechanics. In order to properly understand how to progress and help the souls of Limbo, you have to truly understand their schedule, and what elements of these you may manipulate in order to make them move closer to your goal. 

I can think of many examples, in which in many cases in which the problem in hand, requires you to experience the cycle of a character in order to understand what leads them into breaking their respective patterns. 

You may see a character stuck through the day looking for an important item to solve a problem, but as it turns out, they would only come to find the item they need when it’s already too late to address the issue. The player may see this as a chance to instruct them early in the day’s cycle on where to find what they’re looking for, and so this breaks part of the pattern that keeps the character stuck in a loop. It’s all about creating cracks in the cycle of each character to help them get out. 

But instead of me going into obsessive detail, I can surely say that a lot of this is present in chapter one of the game. Which is available as a free demo, in case anyone is interested! 

The papercraft aesthetic gives Kulebra such a distinct look, what inspired this visual direction?

Earlier in production the 2.5D aesthetic came from certain limitations. We wanted to have a 3D environment that felt natural to explore, with a substantial amount of elements to interact with. So, in order to achieve this within our small team, we decided to simplify the complexity of character assets to 2D to make sure they wouldn’t become a detriment to the development of the game.

With that, we also wanted to make the character renders to stand out, leading us to sacrifice some level of 2D animation to have more complex renders for our characters. Then with these limitations in mind, we centered all the visual elements into a “Pop-up book” like visuals. Emulating a subtle feeling of storytelling throughout the whole game.

How did your partnership with Fellow Traveller come about?

As far as I recall, it all happened little after our First Kickstarter for the game. We did not meet our goal, so we were looking into ways to continue the development of the game. Thankfully, soon enough one of the scouts from Fellow Traveller discovered our team, and they proposed a partnership. After a few nice meetings, and getting into an agreement, everything was pretty much set!

Thankfully we couldn’t have asked for a better partnership. Fellow Traveller has been a blessing in the development of the game, and we can’t stress enough how much of a game changer this has been for us! 

What’s your perspective on the current state of the gaming industry, especially the indie scene?

That’s a very interesting question, but when it comes to the indie game industry, things get a bit complicated. Since it’s hard to pin the things into a specific state or category, given the flexible nature of it. Composed of countless backgrounds, budgets, and personalities developing all sorts of ideas. Anything goes in the indie market, and this makes for a very fertile environment for creative ideas of all kinds.

But one thing hasn’t quite changed throughout the years, and our opinion may not be uncommon, but we can certainly say that the current state of the industry brings its own sort of challenges. As you may know, there are more ways than ever to become an indie developer, and in the past two decades that has only become more prominent, but so is the constant struggle that comes with trying to reach an audience in such a rich and saturated industry.

All this makes up for a fairly volatile and hostile market when it comes to trying to establish a sense of stability, for any studio. So given these factors, to anyone willing to give this industry a chance, even if it’s just to make a dream project come true, they have our respect.

As developers, how do you view Xbox Game Pass? Do you see it as a sustainable model for games like yours?

As the model sits currently, yes. It can guarantee a decent degree of success within the Xbox platform, especially for low profile studios. All this while maximizing the exposure of the game to new players, since it would be the equivalent of a “free game” to the players in the program. It can be a win-win depending on the position of the studio. 

In the end, do you want players to walk away feeling like they’ve had a cozy experience, or an emotional journey they’ll reflect on?

We would say the latter. Kulebra and the Souls of Limbo is a game that sets a platform for introspection. In the end we want the players to experience the power of empathy, and what this can bring to their lives, and others. While understanding the sacrifice that may come with it, but knowing that despite it all, it is still worth it.

The post Kulebra and the Souls of Limbo: Paulo and Pavel Lara Share What Makes This Game Unique first appeared on IndieGames.

Among The Whispers – Provocation is a singleplayer first-person paranormal investigation simulator. You take on the role of Stephanie, a young investigator exploring a haunted castle in New Eidolon to uncover dark family secrets and free trapped spirits. Using authentic ghost-hunting tools like EMF readers, you navigate procedurally generated locations and family stories, employing a unique “provocation” system to interact with ghosts. While not focused on jump scares, the game creates an eerie atmosphere and may trigger psychological consequences if provocations are used carelessly.

The castle has over 30 rooms and hides generational secrets, with each playthrough offering different ghosts and narratives. Among the Whispers – Provocation is set to release next week on May 22, 2025, and will be available on PC via Steam.

What drew you to start developing Among the Whispers – Provocation, and how does its approach to ghost hunting differ from other games in the genre?

I wanted to create a ghost investigation game that had an authentic approach to investigating the paranormal. I haven’t played many other ghost hunting games. So, I don’t think I could give a fair comparison. From my basic understanding about most of them: You are trying to eliminate ghost types from the actions you observe.

In Among the Whispers – Provocation (ATW-P), players will use an ancestry database to review the potential family members who haunt the mansion. Then collect evidence from the ghosts. Players will need to review audio, photos, and movies collected and make deductions about who the ghosts are. Once the players believe they know who the ghost was in life, they can try and help them pass on, releasing them from haunting the mansion.

Given the positive reception of Conrad Stevenson’s Paranormal P.I., what key lessons or improvements did you carry over into Among the Whispers?

I felt Conrad Stevenson’s Paranormal P.I.’s (CSPPI) gameplay at times was really slow. Most of the constructive feedback I received was in alignment with that. In Among the Whispers – Provocation, I implemented a provocation system which allows players to drive the action. So players can influence ghost behaviors much more aggressively and obtain evidence quicker. A big thing in CSPPI was, once the ghost gave evidence, you knew the story. There wasn’t a lot of figuring things out. With ATW-P, the ghost only gives you clues. You must do more research and investigating to figure out who they are.

Did you collaborate with real paranormal investigators to create a more authentic experience in this game?

I’ve been a paranormal enthusiast for a long time. I felt that from my personal experiences and research I had it covered. Although, I have discussed some elements with folks who investigate regularly.

A question we’ve all been wanting to know, will there be a multiplayer?

No. I want players to have an immersive streamlined investigative experience. I feel like multiplayer would ruin that.

The game’s procedural generation creates unique family trees and ghost types for each playthrough. What was the biggest challenge in designing this system, and how does it influence the gameplay

In early builds, the focus was on getting the system to work, but I encountered bugs like duplicated names or names combining two first names. These issues helped create endless replayability. Even as the developer, I don’t know what I’ll be investigating each time. I have to gather evidence to figure it out, which is really fun. I still get jump-scared occasionally, too.

Could you describe the work put into the game’s atmospheric immersion, particularly regarding sound design and horror elements?

I think this is one of the largest parts of the game. I spent a ton of time adjusting everything I could to dial in every aspect of lighting and sound. I tried to create a feeling of safeness when in lit areas and a feeling of dread in the dark.

To maximize immersion, sound design must be carefully crafted. I worked to ensure every area of the mansion features sounds that create a sense of truly being there. Additionally, ambient sounds tied to gameplay heighten player tension, intensifying as the ghost grows stronger the more you learn about them. All ghost voices use directional audio, making them sound as if they’re whispering in one ear or both. This effect can be quite creepy.

The provocation mechanic, where players choose how to interact with ghosts, adds a layer of risk with stress penalties. What inspired this system, and how do you see it evolving in future updates?

The inspiration for this feature comes from watching ghost investigation shows, where a person asks questions to a “ghost” and reacts to any noises that follow. I also want to reward players for planning and being prepared. So they need to be mindful of what they are asking the ghost to ensure they get the evidence they are looking for. When I play and lose nerve, it’s usually because I rushed, asked a question without the proper equipment ready, and missed the chance to collect evidence when the ghost responded, resulting in a loss of nerve.

Can you give us a brief overview of the equipment we’ll be able to use in the game?

EMF Meter – It detects electromagnetic fields. It helps locate ghosts but also goes off next to anything electronic.

Temperature Sensor – Point this device at an object and the digital screen will show you the temperature. Ghosts generate cold spots, but the old mansion is drafty. You’ll have to look for inconsistencies.

Laser Pen – Displays a green dot grid pattern on surfaces. Helps to see movement on flat surfaces or if a ghost is walking past a wall. Also, the ghost will absorb some of the lasers light and change its color. This can also help to locate the ghost.

EMF-POD – Acts like the EMF meter but can be placed.

Camcorder – This device will take 8 second video clips automatically when something paranormal occurs in its viewing angle. You can watch your movies in game on the camcorder whenever you want and upload them to deduction board.

Camera – This device allows you to take photos of paranormal events. It will only allow you to take photos of paranormal events, this way you know if you caught something.

Digital Recorder – The game records audio in 5-second intervals. When you hear a ghost, press record. If the ghost’s sound falls within the recording window, it’s captured. All recorded ghostly tracks can be reviewed immediately in-game.

ParaMic – Used to amplify ghostly sounds and muffle ambient noise. It take up two hands slots, since it’s being paired to the digital recorder, but ensures you won’t miss any ghost noises. Doesn’t act like a real Parabolic Microphone. 

Mugwort Smudge Stick – Mugwort is used to interact with Residual Ghost. Since they don’t really know you are there, you have to smudge the area with specific chants to elevate their energy in different ways.

Tablet (Deduction Board) – The tablet is where you access deduction board. You can upload your evidence, ancestry data, locations with maps, and archives found in the mansion. You can flag evidence to organize where you found it. Ultimately, identifying who the ghosts are and help them pass on into the afterlife.

Laptop – This is where your email is, the ancestry database Fallen Apple, and Stephanie’s blog. The email is where you have details about your investigation. Fallen Apple is where you research the family’s history. Stephanie’s blog is where you can organize your provocation loadout.

Some players have noted a steep learning curve, particularly with mastering investigation tools. How are you addressing this feedback to make the game more approachable without losing its depth?

The final version of the game will include a tutorial at the start, guiding players on how to use all the equipment. During the second investigation, Conrad will call Stephanie to provide additional information. Afterward, Conrad sends Stephanie an email with bullet points summarizing their discussion, so players can revisit details if needed. Additionally, the tutorials, now available in the pause menu, have been reworked for better clarity.

As a solo developer, what has been the most rewarding part of bringing Among the Whispers – Provocation to life, and what’s been the toughest hurdle?

As with Conrad, just the fact that I made a game is pretty amazing. And now I have done it twice. It’s hard for me to wrap my head around it. I think the hardest thing is probably getting the game in front of people. There are so many games out there these days it is very easy to get lost in the pack.

How many players have played the demo during the Steam Next Fest and do you think Among the Whispers will be able to find its audience?

A few thousand folks have downloaded the demo. It seems like those who have played it enjoyed it.

I think the potential audience for this game is larger than my first game. I believe AtW-P is significantly better balanced, in terms of gameplay. This allows players to have a much more engaging investigation than in CSPPI. Additionally, the investigation aspect is more fleshed out. To help ghosts move on, players must make thoughtful deductions based on the clues provided.

The archive system’s passive storytelling allows players to deeply engage with and review all pieces of information. This enables each player to interpret the family’s overarching story in their own way, while still arriving at the same conclusion.

The post Conrad Stevenson o Among the Whispers – Provocation: Iza kulisa najrealističnije igre lova na duhove first appeared on IndieGames.

Bean Beasts offers versatile mechanics, allowing you to manipulate the environment to your advantage. By strategically placing walls, you can redirect enemies and control the flow of combat, creating opportunities to outsmart your opponents. Additionally, the game unfolds across 40 hand-crafted levels, spread over five diverse biomes, each with its own visual flair and challenges. Eight epic boss encounters test your skills, demanding clever strategies to overcome their formidable power. For those seeking endless replayability, eight endless mode maps provide relentless waves of enemies to conquer.

Honestly, Bean Beasts is a true indie gem, crafted entirely by one developer, highlighting how saturated the market is with games, making it tough to find ones you’ll truly enjoy. You can try the demo on Steam and wishlist it there, though the release date is still unknown. Additionally, you can playtest the latest version of the game yourself by joining its Discord server.

Tell me about yourself and your experience as a developer. What led you to work on Bean Beasts?

My name is Josh and I’m solo developing my first game called Bean Beasts. Development began around January 2023 though it’s hard to pinpoint when the project officially went from an experiment to an actual game. After doing some sound work for a big studio, I wanted to see if I could sidestep from the TV industry into games. I found most jobs required knowledge of an engine which is why I started learning Unity.  Unity became my new game, I was obsessed and found it very fulfilling to make things. It didn’t take long to decide I would try and make a full game.

What is the current demo version offering and will you upgrade it for the Steam Next Fest in June?

The current demo is always being updated with improvements aligning to the ongoing playtesting for the full game. I’ll find something fun to add in the lead up to Nest Fest to encourage players to give it another go – probably access to an extra Endless map.

Can you walk us through the core gameplay loop of Bean Beasts? How do the evolving Bean Beasts and trap upgrades tie into the strategy?

Bean Beasts is a chaotic Tower Defense game where you collect new beasts, traps and upgrades after every level. Bean Beasts are your hero units and get stronger and evolve over time. Each level you choose a selection of Bean Beasts and traps to defend against waves of monsters. As enemies can have multiple resistances/characteristics you’ll have to consider which Beasts and Traps work best. Beasts each have unique abilities you can trigger after a cooldown, Traps also have unique upgrade paths which can completely change their element and attack style. 

What inspired the beasts’ designs? How many of them can we use in one playthrough? 

The inspiration for the Beasts mechanically is a mix of the hero units in Kingdom Rush combined with creature design akin to Pokémon or Tamagotchis. They start off small, weak and also bean shaped, then get exponentially more powerful as you level them up and they change form and gain new attacks.

They’re deliberately quite vague and basic in design and are named accordingly, for example Cactus, Frog or Ghost. There’s no real reasoning behind this other than I find it amusing. Some designs take inspiration from specific real life animals, the Dog is based on my own dog when she lays upside down with her teeth poking out, and the Frog is based on the Black Rain Frog because I find them hilarious.  As you progress you can unlock additional inventory slots and take up to three Beasts with you into the levels.

The game offers a lot of content: endless mode maps, multiple difficulty settings, and diverse enemy types. How did you approach balancing these elements? 

Balancing has been an ongoing process with a lot of help from playtesters who volunteer to help improve the game. I have my spreadsheets calculating how the Towers work and interact but with so many variables it’s hard to predict which ones are over or underpowered.  I’ve been testing the game incrementally and adjusting over time so that by the time I release there should hopefully be no need for any major rebalances, unless players find some way to break the game.

Honestly I try to make each tower feel overpowered when used correctly. This leads to an “aha!” moment where players work out the full utility of a particular beast or trap and hopefully will result in people having fun trying out different combinations. 

Were there specific design choices you implemented to maintain fresh, non-repetitive gameplay?

There are a few key ideas I use to try and keep gameplay fresh. I make sure players unlock something new after every level, but on top of that there’s also an in-game shop with additional unlockables that players can revisit and play around with. Note these are unlocked using gems you earn by progressing through the game, it’s an in-game currency and there’s no in-app purchases; everything is included in the game. 

Each level has unique challenges which are completely optional. These award bonus gems and make each level a little different and can get players scratching their heads trying to solve problems beyond just “place towers, shoot enemies”.  In the early levels the challenges also double as indirect lessons, for example an early challenge is to set enemies on fire, which you can do by upgrading the Ballista into it’s first upgrade path or by unlocking the Dragon from the shop. 

The worlds are broken up with boss battles, each with some mechanical twist to keep players on their toes. Small bosses use the environment, large bosses change the environment. There are new enemy types introduced which get more challenging as time goes on. First you deal with stronger enemies, then enemies with shields, then enemies who target your boxes, enemies that can fly, are immune to fire etc.

I deliberately change up the enemy types to encourage players to experiment and diversify tactics. Each world also introduces enemies with new mechanics too, such as turning invisible, stunning your towers or regeneration. All this is to say that with each level there will be some new set of challenges to overcome.

The Steam page mentions 2 damage types, 5 elements, and 7 status effects. Will you be adding more? How do you plan to support the game post launch?

My plan has always been to release a full game, so everything has been calibrated and balanced on that. That means everything is included on release, there’s no in-app purchases, pay to win or paid DLC expansions planned. I will also maintain and update based on player feedback and will hopefully be able to re-invest some of the money into paying for additional translations. I also plan on doing a port to Switch and Mobile after the PC release.

Further down the line, I can add additional endless maps to the game (for free of course). I may try to add additional features like a leaderboard, but this would depend on how viable it is to maintain and whether there is a demand from players. 

How difficult will the bosses be and will there be certain ways to defeat them?

All the bosses have unique counter-attack patterns and the world bosses also manipulate the environment to their advantage, each boss encounter should be memorable and a spectacle. The game doesn’t tell you what the boss will do so players will have to go in and face the surprise head on. I was playing a lot of Elden Ring when I made the first few bosses and I think that may have resulted in them being a bit too difficult.

The bosses difficulty generally comes from the optional challenges, this means players can choose to make it hard for themselves, or pass through to continue the story. Because you’re always unlocking new powerups, abilities and inventory slots it’s always possible to come back to a boss or challenge later. 

What’s been the toughest part of developing Bean Beasts so far?

When I started this game I had never written code before and I was totally reliant on tutorials and google. Debugging would sometimes take days but I always managed to figure it out in the end, which was very satisfying. Also wrangling with input system, UI systems and save systems. I was a complete noob so things kept breaking and I’d have no idea how to fix it. 

I’m glad I went through that because now I have a lot of experience. I can now design a much more effective/efficient save/UI system which will perform better and not take months to create. I recently did a game jam where I essentially recreated the framework and UI for Bean Beasts, but in only a week rather than the many months it took me the first time. 

You’ve mentioned custom music, artwork, and sound effects. Did you create these yourself, or collaborate with someone?

My normal day job is working as a sound engineer and video editor, so creating sound effects and music was probably the easiest part for me. I also did a lot of drawing growing up, I enjoyed going to the art rooms in school and was always doodling silly animals and creatures. I love working with pixel art because it reminds me of the Megadrive and Gameboy. 

I’m very lucky because although I never studied or trained for game design or using a game engine, a lot of skills from my day job transfer over, such as knowledge of frame rates, resolution, file formats, using animators, keyframes and digital interfaces. I also do a lot of QC work which has been beneficial, I’ll record footage of my game then watch it back frame by frame looking for things I can tidy up and fix. 

The post The Dev Behind Bean Beasts Reveals More About the Game and How His Daily Work Supports its Creation first appeared on IndieGames.

In Kitchen Sync: Aloha!, you’ll step into the shoes of Kai or Kala, siblings determined to revive their family’s once-thriving restaurant. As you rebuild your culinary legacy, you’ll meet and recruit a vibrant team of chefs, each with their own signature skills, and master more than 30 unique kitchens. From lively food trucks to beachfront eateries, you’ll craft various dishes, charm tough critics, and transform competitors into allies.

If you’re interested in checking out this game, it’s already available on Steam and quite affordable. Plus, it’s compatible with the Steam Deck, making it perfect for anyone who wants to keep playing anytime, anywhere.

What inspired you to create Kitchen Sync: Aloha!, and what made you blend cozy cooking with RPG elements?

One of my goals founding Lemonpepper Games was to try and introduce gamers to cooking and a wider diversity of the world’s foods. My interest in cooking really first began when I watched a few Food Anime series, and after that, I thought, “why not games too?” I chose RPG as a genre anchor because I think they’re great games for driving emotional connections to characters, places, and themes. Mix the two together, and you get something like Kitchen Sync!

The game has a strong Hawaiian vibe, what drew you to this setting?

My mom’s family is from Hawaii so it’s a place that holds an important place in my life. It also has amazing food that I felt I could write about at the level of detail necessary to get someone interested in trying it. Combine that with cozy Hawaiian vibes, and the setting was my top choice.

How significant are relationships in the game? Can players pursue romance or even marriage?

Relationships drive Kitchen Sync’s narrative, whether they’re relationships to places, restaurants, family or friends. Mechanically, KSA’s relationships are represented by Support Bonds, a feature Fire Emblem fans in particular will recognize. Each pairing of characters gains Support levels starting with friendship at level C and full blown romance at level S, with each level bringing a special conversation, sometimes also unlocking side quests or abilities. 

While not every character pairing can reach an S level relationship, every pairing has at least one conversation. The main character of course can reach S level with anyone. No marriage in this game, the game’s narrative ends before then.

The mini-games look fun! Where did you find inspiration for their designs?

I tried to keep things simple but reflect some of the activities I associate with all my visits to Hawaii. Fishing is huge there for the locals, and Hiking has always been a big one for visitors. I added Swapmeets later on to give a different kind of feel and help the game economy a little bit.

You’ve included multiple difficulty modes, from Cozy to Hard Boiled. What was the reasoning behind this approach?

At first, there was a single difficulty mode, but I found balancing between hardcore management vets and cozy story readers a bit tough. So I let the player choose! I don’t believe KSA is meant to be a truly hard game on any difficulty, but for those who love min-maxing and want to be fully rewarded, Hard Boiled is the way to go. And if players just want to relax, cook, and enjoy the story, Cozy Mode has them covered.

With over 30 kitchens in the game, what was the vision behind this feature? And just how big is the in-game world?

Like most management sims, KSA started with a single kitchen. Originally you’d upgrade the restaurant slowly piece by piece. Someone gave me the suggestion at some point… if I’m putting the game in Hawaii, aren’t I kind of wasting the potential of the setting by just staying locked to that restaurant? I took the idea and ran with it, changing the game’s theme to running a restaurant then making kitchens from all the kinds of places you can enjoy on the island. 

It also helped me marry the genres of tactical RPG and kitchen simulator, both of which are level based and use map variety to keep the game fresh. The game loop moves from map to kitchen to dialogue, so the game world is really these levels themselves, but my goal was for the stories that take place around them to make the Island of Maikai still feel lived in.

Could you walk us through the cooking mechanics? How do they work, and what makes them unique?

The original pitch for KSA was “Overcooked meets Fire Emblem”. With that lens, you can probably see where some of the core mechanics came from. You play as the head chef of your pop-up restaurant. Your job is to direct a team of chefs around kitchen venues around the island and cook food for hungry customers. Each customer has HP (hunger points), food you cook has a quality number that removes that HP, and your goal is to remove everyone’s HP before running out of time.

Using that as a simple starting point, chefs and appliances have different abilities that might modify their speed, their quality, their interactions with certain foods, etc. Optimizing character abilities and kitchen layouts allows for a bunch of strategic depth, but so does figuring out how to position your chefs in the kitchen in ways that minimize wasted time and effort. 

I don’t think RPG HP/Damage or kitchen task management are novel mechanics on their own, but I think the blend is pretty unique and hope players will enjoy it!

The characters have a charming anime-inspired style. How many are there, and how much freedom do players have in interacting with them?

There are 8 playable chefs, including the main character, who can team up and cook in the kitchen. Each character has a unique ability tree that can synergize with different strategies or other chefs, and have unique stories you can explore through support conversations. My goal was to give every character a sense of development throughout the story and ensure they had time in the spotlight. A level supports in particular come with unique side quests that explore character motivations and character development, and those are some of my proudest features.

Outside of your chef team, there’s also a supporting cast of other characters to meet who help move the story along and provide structure.

The Steam page highlights Steam Deck optimization. What specific tweaks did you make for handheld play?

Opting to target Steam Deck required a bunch of targeted work. The game had to work on a small 10:16 screen; the UI still had to be readable; I needed to add controller support, and a bunch of other things. The biggest one was playtesting, KSA isn’t a short game (estimating 25+ hours per story playthrough), and I played through the entire thing on the Deck before release. I think it was all worth it though. The game feels great on the deck, maybe because the games that inspired it were also handhelds.

What was the biggest challenge you faced during development?

For the product, it was figuring out how to get the genre mix of tactical RPG + cozy cooking management to blend just right. It was also tough to figure out how to talk about the game sometimes. Most gamers haven’t played games like this, so if I started a conversation with “It’s Overcooked mixed with Fire Emblem,” people would just look at me confused. I think coalescing the mechanics and pitch around “cozy cooking RPG” helped a great deal in solidifying the heart of the game.  Keep the vibes of a cozy cooking game, and the depth of an RPG.

The post What’s cooking in Kitchen Sync: Aloha? Matt Slemon dishes on what makes his game unique first appeared on IndieGames.

Monsterpatch is an RPG farming and creature-collecting simulation with a touch of magic woven in. Incredibly, it was funded in just 16 minutes, far surpassing its modest $15,000 goal. Now, the number of backers is growing exponentially, with the campaign currently sitting at $140,000 and breaking records. We spoke with Sean to learn more about the game, what to expect from it, and his advice for other developers.

If you’d like to support the game on Kickstarter, you can do so via this link. Unfortunately, there’s no Steam page yet, but it’s in the works.

Can you tell us what inspired Monsterpatch and how it builds on or differs from your previous projects like Magicite and Littlewood?

Originally Monsterpatch was going to be a humorous roguelike that made fun of Pokémon. In order to find more things to make fun of, I bought an old copy of Pokémon Silver and Pokémon Emerald to play. As I was playing, I absolutely fell in love with these two games. So much so that I decided to change my entire game’s direction and aesthetic. I had to try an honest attempt at a monster-collecting RPG with my own unique spin on it. So Monsterpatch is very much a monster-collecting RPG at its core, which is very different from my previous projects.

You’ve described the game as a monster-collecting RPG with retro charm. What unique features are you planning to include to make it stand out in the crowded monster-collecting genre?

I’m taking all the best features of Littlewood, improving them even further, and integrating them into a monster-collecting RPG. I believe the monster-collecting genre is a perfect match with the cozy/farming genre. I’m super excited about my unique town-building system, which I really believe will elevate Monsterpatch in the sea of monster-collecting games.

The game clearly draws inspiration from classic Pokémon titles, with its dual Skyfarer and Aurora versions. Could you explain the key differences between them? Is there any benefit to owning both?

When you create a save file in Monsterpatch, you can choose which version of the game you’d like to play. You can also have multiple save files. So players will be able to play both Skyfarer version and Aurora version after purchasing a single copy of Monsterpatch. Each version will have a unique story with different antagonists, along with version-exclusive MoNs and items.

The creatures in the game are called MoNs, where did the idea for the name come from? Approximately how many creatures will be available to collect? Will there be rare “legendary”-tier MoNs with special catching methods?

I just really liked the simplicity of “MoNs”. Since the Kickstarter has been so successful, I’m doubling the amount of MoNs in the game from 108 to 216. Yes, there are a few legendary MoNs that can be battled and caught in the game.

The house sorting system for MoNs feels reminiscent of magical school tropes. Was this inspired by franchises like Harry Potter? What gameplay purposes does the magic system serve beyond creature classification?

While I was working on Monsterpatch, my wife was rewatching the Harry Potter movies in the background. This definitely had a huge influence on a lot of my design decisions. It’s how I decided that instead of “types”, my game would have magical Houses. Instead of “trainers”, my game will feature wizards that catch MoNs by using a spell with their wand. This led me to developing the Spellbook system, which allows the player to unlock a variety of ways to interact with the world.

Your team-based battle system allowing multiple MoNs simultaneously seems innovative. Was this always part of your core vision for combat?

Yes! I’ve played many RPGs over the years and I much prefer combat systems that have multiple party members. Having 4 MoNs in battle at once opens up a lot of exciting possibilities with multi-target moves, position-based moves, and unique MoN synergies.

With over 2,000 backers and surpassed funding goals, has this level of support matched your expectations? How has your existing fanbase contributed to this momentum?

Currently, we’re only on day 6 of the Kickstarter campaign, and yes, the overwhelming amount of support so far has definitely exceeded my expectations. I’d say it was largely due to the community I’ve built across all socials. Kickstarter does a great job too at notifying backers of your past projects.

At just $20 for base support, the campaign seems very accessible. With popular rewards like Design-a-MoN selling quickly, what additional stretch goals are you considering as funding continues to grow?

I’ve got a lot of fun and exciting Stretch Goals planned. These range from unique game mechanics to more familiar ones that can be found in popular monster-collecting games. There might even be a console port in there somewhere!

Looking back at Magicite, your first big PC game, what was the most defining moment for you as a developer, and how did its success shape your future projects?

I think it was when Magicite got featured on the front page of Steam while simultaneously getting covered by Markiplier, a popular Youtuber. That really catapulted Magicite into a level of success that my previous mobile games never achieved. This allowed me to go all in with game development.

You’ve worked on a variety of genres, from the multiplayer survival of Magicite to the cozy town-building of Littlewood and even art for Kindergarten. How do you decide which ideas to pursue next?

It always comes from me wanting to play a certain type of game. I was really into Terraria, Minecraft, and roguelikes when I created Magicite and Roguelands. A few years later I was fascinated by Animal Crossing, so I had to try making a cozy peaceful RPG, which became Littlewood. Kindergarten is a crazy, wacky game and I don’t know why we made that one. But it sure was popular.  

You’ve been in the indie gaming scene for over a decade now. How do you think the industry has changed since you launched Magicite in 2014, especially for solo developers?

Steam wasn’t so crowded back then. As long as you got greenlit, it was super easy to get noticed without too much competition. Nowadays there are dozens of games being launched every day on Steam. But not just the quantity, the quality of indie games has certainly gone up, so I’d say the competition is very stiff now. If you’re a solo developer you better pick your genre carefully and start building a social media following as soon as possible.

Crowdfunding has been a big part of your career. Do you think Kickstarter is still a viable path for indie devs today, or are there new challenges that make it tougher than it was back then?

Kickstarter is great! I think it is very viable for indie devs today, as long as you run a campaign of your own BEFORE the Kickstarter campaign. Marketing is the least fun part of being an indie developer, but it’s so important. Get in the twitter/instagram/reddit trenches and build a following for your game, THEN consider launching a Kickstarter to help you get across that finish line.

As someone who’s worn every hat in game development, what advice would you give to new indie devs trying to break into the industry in 2025?

Start small. Release bad games. Be comfortable with failing. Anyone can start a project, but 99% of those that do will never click that launch button. Give yourself strict deadlines, and stick with them. Build your unique brand as an indie game developer. Authenticity goes a long way.

How do you balance the pressures of solo development with your personal life, especially with a new project like Monsterpatch on the horizon?

I’ve always struggled to maintain a healthy work-life balance. I’m trying my best to be diligent with only working during work hours, and to not work when it’s time for friends and family. Seeing the insane support for Monsterpatch is making this quite difficult, though. Despite the crushing pressure to deliver a fun game, I find comfort knowing that I have the best job in the world. I wouldn’t want to be anywhere else.

The post Sean Young on Monsterpatch: Unique monster-collecting game with RPG and farming elements first appeared on IndieGames.