Hey everyone! We haven’t had a post in awhile, and I thought the folks interested in the physics aspect of the game would be interested in reading about how we solved the (probably age-old) problem of creating a dynamic, parabolic movement from a source position to a targeted position.
The nes version of Rygar is a substantial influence on the design of Mecromage. Read on to learn how Mecromage owes some of its flavor to this retro title.
While most of the time Josh toils by his lonesome in his “sad cave” in Maryland, every so often he is able to join us in the great state of Texas for intense bouts of working, sleeping, and habenero-infused, tobasco-laden pizza. This is the story of his visit.
I’ve made a lot of tracks for Mecromage so far…more than for my Castlevania 3 tribute album in fact. We want to balance the music not just to the setting of a level, but the ‘role’ of a level as well.
What can we learn from mobile games that can be applied to Mecromage?
We’ve created almost 100 different enemies during the development of Mecromage, including variations, and we need to pick the best ones before animating and refining the enemies. Below, I’ll describe some of the enemy characteristics that we’ll look at when we start approving, cutting, and merging behaviors.
While our team has different gaming tastes, the NES-era Castlevanias bind us together, providing a common love which inspires us as we develop Mecromage. For evidence of our design philosophy, let’s travel back to 1994 to the heart of Romania –er Hollywood, to examine that which created a seismic shift in the Castlevania franchise.
It feels dirty to mention “movies” and “games” together. Since I just did, I’ll cleanse myself by proposing the core “design goal” the two have in common.
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One of the toughest decisions early in Mecromage’s development was deciding what language to use for the game and its tools. As with many development decisions, the decision to use C# for the tools and C++ for the game and engine was not obvious at first glance.
Mecromage 