LINUS
JERNSTRÖM
GAME DESIGNER
Featured Game
Edge of Divinity is a top-down movement slasher focused on
precise character control and
split-second decisionmaking!
GAME DESIGNER
Edge of Divinity is a top-down movement slasher focused on
precise character control and
split-second decisionmaking!
My name is Linus Jernström, and I'm a game developer based in Dalarna, Sweden.
My journey into game design began with a childhood love for video games, sparked by watching my dad's playthroughs of Diablo 3
and Age of Empires 3 over his shoulder. Those memories ignited a passion in me that's been growing ever since.
Nowadays, I really enjoy the process of learning and exploring all sorts of concepts in game development and design!
I've done a lot of generalist work, but I specialize in the more programming-adjacent technical side of design, mostly as it relates
to UI and Gameplay design! I also really enjoy working on UX and systems design, and I've recently been doing a lot more QA work.
Further, I have found that cultivating an environment where making games is fun and exciting for the whole team always shines through to the final product.
Outside of work, I try to maintain some semblance of balance in my life. Of course I like to get some gaming in when I have the time, I also try to
exercise regularly, whether that's going to the gym, going for a run, shooting hoops or going for a climbing session.
I am also a *massive* nerd, currently sporting around 30 fully optimized and unused DND characters with written backstories and all.
I know I'll never use most of them, but I guess I just can't help myself. One of my silliest character builds to date was created specifically to
nuke Vecna in a single turn of combat, which it does in 99.99989% of the 10 million combats I simulated (with no prep time!). Top class nerd stuff.
I also recently started assembling my first WH40k army, the ever shiny Adeptus Custodes!
I want to find work at a studio that puts emphasis on being a team, on collaborating and helping each other out. Where the culture is about being
friendly and making the workplace a fun environment. A close-knit bunch that feels as much like friends as co-workers.
If you know of a place like that in need of a charming young developer, please let me know.
With its simplistic voxel aesthetic, Cube World captures the hearts of players with a distinct charm and a profound sense of accomplishment. The game's open world design fosters an air of exploration and discovery, making every venture an adventure in its vast, procedurally generated landscape.
At the heart of Cube World is a rewarding progression system, which allows for a palpable sense of growth. The triumph of revisiting starting areas and easily defeating once formidable enemies is a direct testament to your journey and resilience in the face of adversity.
Challenging boss battles, particularly those against foes significantly higher in level, yield some of Cube World's most exciting experiences. The thrill of victory, driven by a strategic mix of well-acquired gear and skillful execution of combat mechanics, is a high unlike any other.
Cube World's combat isn't just about strength, but also strategy. Mastering dodges, interrupting channels, and timely strikes create an intense rhythm that's incredibly satisfying. Each victory feels genuinely earned, a result of understanding and exploiting your enemies' patterns and weaknesses.
Despite its outward simplicity, Cube World's colorful and vibrant universe injects a touch of whimsy into the gaming experience, fostering a sense of wonder throughout the journey.
To sum it up, Cube World is a uniquely enchanting experience, combining open-world freedom, rewarding progression, strategic combat, and charming visuals. Its allure lies not in a single element, but in the seamless blend of these components, making it the game that continues to resonate most fondly in my gaming memories.
A game that needs no introduction, a monolith in the gaming landscape. While it is easy to praise Minecraft for its sandbox-like gameplay and near infinite possibilities for the player, it's not what I will be focusing on.
I consider Minecraft the first game engine I ever used. Through Minecraft, I learned boolean logic, programming, game design, level design, cooperation, and probably a bunch of other things I don't even remember where I picked up.
When I started playing Minecraft back in 2012, I found the most fun playing around with redstone. I experimented and created different kinds of logic gates (long before I knew what a logic gate was), and started making small contraptions. I found endless joy in this kind of logical problem solving, iterating and testing my designs. When I later started working with electrical circuitry during my Technical Education, I realized how valuable my redstone tinkering had actually been; as I recognized everything that we were doing, allowing me to excel during the course.
I had a similar discovery when we started programming in Python and C#, also during my Technical Education. The majority of what our teacher went through was already known to me, either consciously or subliminally. I had been working with Data Packs for some time, using Minecraft's built in system. It allowed me to alter the game however I pleased by writing code and making textures/models. I mostly used my Data Packs for the several minigames I created, most of which were PvP base-defending games using resources and upgrades, reminiscent of Bed Wars and SkyBlock.
This is what I see as Minecraft's real magic. While most sandboxes will let you build your sandcastles and create racetracks for your toy cars, Minecraft is a super sandbox on crack that lets you rewrite the laws of the universe.
Minecraft's beauty lies in its unassuming potential. In the ability to inspire, educate, and transform its players in ways that extend beyond the screen.
An underwater survival adventure which delivers a uniquely eerie experience that exceeds typical gaming conventions. Despite not being branded as horror, Subnautica generates a level of suspense and unease that rivals any traditional horror game.
From the moment you're stranded on an alien aquatic planet, you're immersed in a world that effortlessly stokes fear of the unknown. As you venture deeper, the omnipresent shadows become a canvas for your imagination, painting a threatening picture of unseen horrors. The haunting echoes of distant sea beasts constantly remind you of lurking dangers, keeping your nerves on edge.
Sudden attacks in deep, oxygen-deprived zones incite genuine panic. Encounters with terrifying creatures, like the Reaper Leviathan, amplify your sense of vulnerability, making survival feel like a truly monumental task. Yet, it's this relentless challenge that makes the game so captivating.
Balancing this fear is a sense of awe for the game's alien ocean. Bioluminescent lifeforms create an enchanting spectacle within the chilling darkness, highlighting the beauty in this perilous underwater world.
Subnautica is more than a game; it's an immersive, fear-touched journey that's as rewarding as it is terrifying. This potent blend of fear and fascination, of survival against the odds, is what makes Subnautica such a standout and adored title in my gaming chronicles.
Rust elevates itself to a realm beyond most games - it's an exhilarating voyage that seizes you with an unparalleled level of engagement. Its captivating graphics blend with intense gameplay to redefine the expectations from a survival game.
At the forefront is the game's extraordinary attention to detail. Expansive landscapes, ever-changing weather, and lifelike lighting construct an immersive environment. Whether you're traversing dense forests, uncovering secrets of deserted structures, or beholding the vast ocean, Rust's visual portrayal is a consistent spectacle.
Yet, the aesthetics are merely the stage for Rust's true masterpiece - its gameplay. As a survivor in a harsh post-apocalyptic world, you're pitched into a relentless pursuit of resources and survival. The game's mechanics harmoniously balance difficulty and gratification. Crafting tools, constructing shelters, forming alliances - each decision you make in Rust etches a unique path in your survival tale.
The defining hallmark of Rust is its fluid player interaction. Its online multiplayer ecosystem is akin to a social laboratory, where you cross paths with others who could just as easily become your allies or your adversaries. From defending against threats together, making strategic trades, to engaging in epic battles - the spectrum of interaction is vast. The erratic element of human behavior introduces an added thrill to the already intense gameplay.
Lastly, Rust's progression system stands apart. Starting with bare essentials - a rock and a torch, you embark on a journey of transformation. Exploration, resource gathering, and skill enhancement help you evolve into a force to reckon with. The thrill of unlocking new technologies and amplifying your capabilities serves as a driving force, continually feeding your sense of achievement and progress.
Rust is not just a survival game - it's an intense, exhilarating journey that tests your wits and survival instincts. The combination of immersive visuals, finely-tuned mechanics, dynamic player interaction, and a rewarding progression system creates an unforgettable gaming experience. Rust truly stands as a testament to what survival games can aspire to be - not just a challenge of survival, but a fascinating exploration of human nature and the lengths we'll go to thrive.
I find that the games we love the most also have the unique ability to frustrate us the most. This sentiment rings especially true with League of Legends, a game that's been a constant in my life since 2014. This captivating game can be likened to high-octane chess, a whirlwind blend of reaction-time tests, tactical decision-making, and collaborative strategy that is under constant transformation.
The beauty of League is deeply rooted in its layered strategic depth. The unpredictability of matches keeps you constantly alert and engaged, with each game becoming a fresh challenge to conquer. It's not just about controlling your champion; it's about masterfully navigating a complex strategic landscape that turns every single decision into a potential game-changing moment.
Mechanical skill is an equally crucial component. Mastery of a champion's capabilities, clever utilization of the extensive item system, and the drive to continuously improve forms a rich tapestry of gratifying gameplay. It's the sense of personal growth and achievement that becomes a powerful motivator to keep playing.
But arguably the most gratifying part of League is it's emphasis on teamwork. Forming strategies with your team, communicating effectively, playing to your collective strengths while mitigating your weaknesses - the game provides a platform to experience the thrill of collaboration and shared victory. And when you get to share these intense, joyous moments with friends, the game transforms from a simple pastime into a binding social experience.
In conclusion, despite its flaws, League of Legends is a deeply complex and rewarding game. Its intense, team-centric gameplay married with the continual demand for self-improvement and adaptation, cements it as an engaging experience. It's evolved to more than a game - it's a nexus of friendship, shared triumph, and a test of one's strategic prowess.
6 Weeks
9
Morris: Mortality Rate is an isometric roguelite shoot-em-up crawler with procedurally generated levels.
For this project, I had the role of lead designer.
9 Weeks
18
Burglar is a VR stealth game with horror elements where you break into homes and steal valuables.
My main responsibility was UX and UI design.
4 Weeks
1
Edge of Divinity is a top-down game all about maximizing your momentum with precise inputs.
I made (nearly) everything myself!
Morris: Mortality Rate is an isometric dungeon crawler shoot 'em up game all about strategic decision making and fast
paced gunplay. Take control of the teddy bear Morris and battle your way through a huge factory by surviving through a
sprawling series of rooms filled with dangerous robot enemies. Improve your arsenal of weapons and your physical
attributes along the way to aid you in your battle against the evil AI terrorizing humanity.
Our goal for this project was to produce a polished game with as much content as possible for the players to enjoy.
Given our time constraints, we felt that a procedural rogue-lite game would offer the greatest amount of mechanical
replayability possible.
6 Week Group Project
9 Team Members
Powered by Unreal Engine 5
Platforms: Windows
Lead designer: game vision, meetings, decision-making and presentations, as well as scrum master.
Hands-on-Designing: prototyping, iterative gameplay- and user experience design.
Systems Implementation: responsible for integration of integral gameplay systems and elements.
This six-week project was all about teamwork. We had an ambitions scope and we needed to work efficiently to get the game where we wanted it in the few weeks we had. My role in this venture saw me wearing many hats, each one challenging yet rewarding in its own unique way. It was a very stressful experence, but it resulted in a project that I feel proud of.
The project began with a blank canvas and the excitement of possibility. I was entrusted with the responsibility of designing the game from scratch and writing the Game Design Document (GDD). Though I had final say on our decisions, the team had a lot of interesting and exciting ideas for features, mechanics, animations, guns, and more. Everyone had suggestions and was involved in shaping the game. My co-designer Hari (who was unfortunately absent for much of the project) created most of the rooms used in the level, and I was responsible for the rest of the design work, like designing and balancing the 37 guns that we have in the game. It was a lot of very intense work in many different disciplines, and it
In the role of project manager, I found myself in the position of a guiding hand, ensuring the team remained focused and efficient. I was the scrum leader every morning, and I also handled the task of balancing resources, managing timelines, and coordinating efforts with humility and respect for each team member's unique contributions.
Diving into gameplay mechanics and UI design allowed me to bring some creativity to problem-solving. I helped devise a functioning door system, contributed to an immersive sound system, and designed an intuitive HUD, all of which contributed to the gameplay polish.
Quietly crucial in its role, testing and debugging became an area where I could contribute significantly to the game's polish. Spotting and fixing bugs (and there were a lot), ensuring that our final product was as seamless as possible, was a rewarding, behind-the-scenes role that I was happy to fill.
Finally, my explorations in sound design and dialogue writing were quite the adventure. Curating a collection of sounds and even writing the voice lines for our shopkeeper NPC felt like another step in giving life to our game. Seeing (and hearing!) these elements in the final product was a joyous moment for me.
All in all, my contributions to the project were wide spanning and focused a lot on both the team and my individual work. I ended up having to take a lot of responsibility for the game, stepping in to help wherever we were struggling in the process. The satisfaction and pride I feel are less about the specific tasks I accomplished, and more about the successful result of our teamwork and the rewarding journey we embarked on together.
Read More!
During this six-week project, I had the privilege of collaborating with the talented group of students making up our team What The
Dog Doin' Studios. Their creativity, technical acumen, and commitment to teamwork were key drivers behind the success of
our project.
Each member brought unique skills and perspectives to the table. We faced numerous challenges together,
one of the most significant being the integration of our procedural generation system together with hand-made sections.
This task turned out to be more complex than we initially anticipated. However, with our collective problem-solving
capabilities, we managed to overcome this hurdle and produce our intended result.
A standout moment of our project was the last day, when our Tick function unexpectedly stopped running. Faced with
this (very critical) issue, the team showed impressive resilience and dedication. We pulled together, working tirelessly to not
only fix the issue but ensure the overall functionality of the game, resulting in a fully functional product for our
deadline the next day.
Working with such an exceptional team has not only resulted in a successful game project but has also been an
enriching experience. It enhanced my understanding of the power of effective collaboration and deepened my appreciation
for diverse skill sets.
Hari Murali
Oskar Lindahl
Felicia Lindgren
Victor Fröjd
Ellinor Levin
André Valand
Anton Winqvist
David Bern
Burglar is a VR stealth and thievery game with horror elements. As a novice
burglar, your task is to break into homes to liberate as many goods as possible without getting caught,
and try to escape with your freedom (and life)!
With this game, we wanted to leverage the immersion and emotion that comes with the VR platform and use it to elevate
the player's experence. A big part of the game is in the atmosphere and environment which our team spent
a lot of our time getting just right.
9 Week Group Project
18 Team Members
Powered by Unreal Engine 5
Platforms: PSVR2
UX and UI Design: crafting functional, immersive and engaging user interfaces for a seamless player experience.
Implementation: responsible for programming and implementing interactive gameplay elements.
The journey of this nine-week game project turned out to be as much a test of effective collaboration as it was about creating an immersive gaming experence. With a team size much larger than what any of us were used to, we had to put more focus on efficient communication and teamwork. It was difficult at times, but we managed to pull together and create a game I feel proud to have been a part of.
My main responsibility was designing and implementing the User Interface.
Note that I'm going to lump UX in with UI as I worked with both fluidly. Yes, they are different
disciplines, yes I'll do it anyway.
A couple of specific principles dictated my choices for the UI.
So why make it diegetic? Well, interacting with a physical object rather than some weird floating text
boxes tends to feel more natural in a VR environment. Not only can this help reduce motion sickness,
it also adds to the immersion of the game.
Alright, but what do I mean by "minimize clutter"? By clutter I mean disorganized and/or overcomplicated UI.
It can be confusing and overwhelming for the player if too much information is displayed in one space.
But, it can also be irritating if the UI isn't easily accessible when the player needs it. This can turn out
to be a bit of a balancing act, where readability and conciseness often compete with comprehensiveness.
I chose to combine the Menus and the Mission Information UI into a physical object that the player always
carries with them, a Clipboard. Everything that the player could need on the fly is centralized in this single
location. This way, the player has only a single object they need to keep track of for the most important UI,
and it's always right on their person when they need it. I chose specifically a Clipboard because it makes intuitive
sense for important information to be on them. This worked out well as all our playtesters instinctively referred to
it for menus and information even without being prompted to.
Actually creating the Clipboard, which I wanted to behave like an actual clipboard, presented some challenges.
To keep it looking as natural as possible, I wanted the pages to flip and contort like paper would.
In order to interact with the UI, I would need a Widget (Unreal's UI elements) to lay against the page of the clipboard.
The page serves as a backdrop, and the Widget allows us to interact, so we now have a menu on a clipboard, right?
Well, yes, but actually no. Since Widgets are projected on a flat plane, the widget cannot contort with our pages
as they bend and flip over. Widgets just don't bend like that. But I need the widgets, because a regular mesh (like a page)
can't be interacted with like UI. And if I just remove the Widget when the page turns, then the page will turn white as it flips.
Not very realistic, is it? I needed the visuals of the Widget to stay on the page even as the page turned over.
I looked around online for a few days but could not find any methods for how to accomplish this. I don't know, maybe
I'm the first to ever have this issue. My solution was to utilize something called SceneCaptureComponents and RenderTargets
alongside Dynamic Materials. Right above my page I put a WidgetComponent, the actual UI itself. Above it, a SceneCaptureComponent2D
sits in wait for a signal. As I flip the page, the SceneCapture takes a picture of the Widget. This picture is broadcast to a
RenderTarget2D, basically storing the visual information of the UI. I pass this RenderTarget's texture to a Dynamic Material
which I can apply to the page's mesh. I can then safely remove the Widget, and the page will look identical.
In summary; I take a photo of the UI and stick that onto the page as it flips, thus making it look like the UI contorts.
I worked closely with artist (and part-time speed demon) Felicia to create all the functional elements such as the meshes and
animations needed for the clipboard, as my technique requires very exact tolerances. We also worked together to make the
icons for the UI.
Designing and programming the clipboard UI was an iterative and arduous process, spanning nearly the entire project.
It was a fun learing experience and I'm proud of the end result.
As one of the main coordinators in the team, I helped direct the workflow, ensuring our efforts were organized and productive. I helped our code wizard Casper in handling any technical issues we faced with Unreal, as well as designing and programming a comprehensive save system. This role allowed me to balance resources, manage timelines, and harmonize our efforts.
The task of spotting and fixing bugs, ensuring that our final product was as smooth and immersive as possible, was a responsibility I embraced. From coordinating playtesting sessions to refining the logic for saving and loading game data, these behind-the-scenes contributions were essential in enhancing the game's overall quality.
When a team member was absent for a long period of time, I had to fill in by working with and implementing sound into the game. This role stretched my skills and allowed me to add another layer of life to our game. It was a fun change of pace from what I had been doing. I worked on the dynamic walking sounds, the overall sound environment, and also designed and created a hub area for the player.
In the final stages of our project, I developed a system for unlockable cosmetics and a hover display system for enhanced UI interaction. My focus also involved refining the puzzles and win/lose conditions, ensuring they were engaging and well-defined. There were quite a few late nights, but it was a lot of fun.
Throughout this nine-week project, I had the privilege of wearing many hats and contributing to various aspects of our game. The responsibilities I undertook were as much about the collective effort as my individual role. Having to step in and help wherever we faced difficulties, I am grateful for the many opportunities to learn and the opportunity to contribute in meaningful ways. The pride I feel is not just for the tasks I accomplished but more so for the successful result of our teamwork and the rewarding journey we navigated together.
Read More!
Through this nine week project I had the honor of working alongside the wonderful team Silent Partner Interactive (SPI), a group of 14
other students from PSQ and 3 Sound and Media students from Högskolan Dalarna. I could not be more proud of what we managed to accomplish together,
and I couldn't have asked for better teammates to experience this game project with.
For their hard work and their commitment, I am truly grateful. The game wouldn't have been anywhere near what it is today without it.
I cannot thank all of them enough for the nine weeks we had together; it was a truly wonderful experience even through the ups and downs.
In spite of the bugs, the crashing packages (%#¤%@!) and broken navmesh's, we delivered a really freakin' solid game.
And of that, I am proud.
In fighting through the high amount of absences that we undfortunately had to deal with, those that were present showed tremendous heart and effort.
Eventhough it was difficult, and eventhough it was unfair, the team pushed through together and worked tirelessly to create the best game we could.
I remember one time, in particular, when we were very stressed for time and my office neighbour Melinda was busy implementing sounds. Suddenly,
she put her hands in her face before looking to me with a panicked expression. The sound effects had all started making strange noises!
They sounded muffled and they were crackling! I scooted over to her and tried her headset on; and she was right! Something sounded very off.
When I went back to my computer to check if the issue was present in my version of the project too, everything sounded perfectly fine on my end.
Melinda feared she would have to reimplement all the sound effects, which would take several hours. Things were not looking good.
After some more panic, Melinda realize what the issue was. She hadn't plugged her headphones in properly.
That was the only reason that the sound effects were strange.
In a mixture of embarrasment and relief, she cried for a couple of seconds before we both burst out laughing.
There were some moments like those, where it felt like the team was actually more like a family. I cannot express enough how much
I appreciate everybody's hard work. Their unwavering support, endless creativity, and unyielding work ethic helped shape Burglar
into the experience it is today.
While the completion of the game marked the end of an intense journey, it was also the start of countless new ones.
I am proud of what we have accomplished and looking forward to our next adventures.
Melinda Emanuelsson
Kevin Buda Andersson
Emma Tethrain
Casper Juvas
Viktor Niemelä
David Bern
Dennis Löv
Lucas Andersson Lundvik
Felicia Lindgren
Loke Öhrström
Wille Evensson
Ellinor Levin
Oskar Lindahl
Theodor Fransson
Edge of Divinity is an intense top-down 2D slasher where players must maintain their momentum to exceed.
The game puts players in control of a character armed with a sword, with the core mechanic focusing on
precise sword swinging to damage enemies. The amount of damage inflicted by the sword is determined by
the velocity and momentum of the swing, creating a satisfying and skill-based gameplay experience.
During the whole process of creating this game, my focus has been on refining the core mechanic, that of
momentum-based swordplay. My goal was to make it look, feel and behave just how I wanted it, to make sure
that the foundation was incredibly solid. I am very pleased with what I have thus far been able to put together!
Ongoing Project
Developed Solo
Powered by Unreal Engine 5
Platforms: Windows (with plans for Android)
Check out the Quick Start for a rundown of the game mechanics!
Edge of Divinity is an intense top-down 2D game where players must maintain their momentum to exceed. The game puts players in control of a character armed with a sword, with the core mechanic focusing on precise sword swinging to damage enemies. The amount of damage inflicted by the sword is determined by the velocity and momentum of the swing, creating a satisfying and skill-based gameplay experience.
First and foremost, I wanted to put my time into making the main mechanic behave and feel the way I wanted it to. I expected the biggest challenge in this would be making the momentum change feel impactful and satisfying to the player, which turned out to be correct. Once I was satisfied with the feel of core mechanics, I would look into adding more content where I felt it would improve the experience.
My core philosophy throughout the project has been trying to minimize the complexity of the game whilst maximizing the skill ceiling and skill expression. I want the gist of the gameplay to be easily understood within your first minute of playing, but I want your tenth hour of playing to still feel satisfying and captivating.
The main mechanic of the game is a somewhat novel mouse-based movement system which I have found to be quickly understood even by uninitiated players. It’s simple enough to pick up on the fly and understand, and reliable enough to perform how the player expects it to. The nature of the game itself, putting a lot of emphasis on momentum, makes gameplay fast-paced and requires the player to act on split-second decisions to perform optimally.
The playtesters I’ve been lucky enough to have aiding me through this process have given me a lot of suggestions for additions to the game. “What if you could keep a combo up even after a dash by using the Pivot ability”, “You should make slashing enemy bullets should also activate the lunge”, “Couldn’t the walls bounce you back when you dash into them?”, etc. I have carefully considered these suggestions but ultimately only implemented a select few of them.
I considered things such as consistency: making sure that the game behaves how the player expects it to, encouraging playmaking: being careful to reward specifically non-stale play, which keeps the game exciting, and quality of life: trying to keep a smooth and satisfying experience for the player.
Returning to a previous example, let’s say that slashing enemy projectiles gave the same effect as slashing an enemy (the ability to lunge). This change might be consistent with the notion that slashing things activates the lunge, but it would also be encouraging the player to keep projectile enemies alive, as doing so would result in greater manoeuvrability and speed, both of which are highly desirable.
I decided that I did not want keeping enemies alive to be the most effective way to play the game, and so I made the decision not to include this particular change.
Through the playtesting, a lot of players expressed that the game felt highly satisfying… until you missed a strike. Doing so left you barreling toward who-knows-where, unable to do anything to rectify the unfortunate situation. While the goal of the game is of course not to make the player feel unsatisfied, I was also struggling to find a good solution for this. If messing up had no consequence, good play would feel less rewarding as a result. This is where the suggestion of bouncy walls surrounding the arena presented a great quality of life improvement. Though this is not consistent with the other walls, giving these specific walls a different look let players know that there was something special about them. I didn’t want to encourage the player to go for hail marys across the stage, so I made you lose 20% of your speed when you bounce.
Just as I had planned to do, I put the bulk of my effort into the main mechanic of the game: dashing and slashing. My biggest priority throughout the project was, and is, to make sure that this feels responsive and satisfying to the player. For this reason, I have also put some time into making VFX to support the look and feel of the bladework. Adding these VFX made the game look and feel more fluid and also helped with readability, making for a sizable improvement.
My reasoning behind this is simple. I feel that a solid core mechanic allows the game to remain uncomplicated and elegant in it’s design while still having intricacy and depth for the player to improve and grow in. It also gives me a very solid base to expand on the game from, should I wish to. I could make any number of gamemodes for this specific game later on.
In the end, I was not able to create a complete game in the timeframe. I am, however, very happy with the proof of concept I have made, and would say that the game is currently in a sort of “beta” state. Though it does not have all the polish I would have hoped, it is fully functional, and I am very happy with the state of the slash- and dash mechanic.
I decided to skip on creating things like an options menu, background music, art and such “fluff” as I like to call it. While the fluff is absolutely a relevant (and indeed quite important) factor for finished games, I was not willing to skimp on the core mechanics of the game to prioritize such aspects within these four weeks. I had plans to implement temporary sound effects, enemy models, environments for everything that would benefit from it, as well as plans to make a more appealing HUD and menus, but never found the time. Rather, I focused on the core of the game.
Throughout this project, I have made deliberate design choices to ensure that the core mechanics shine, even at the expense of adding "fluff" elements such as background music or extensive visual assets. While these aspects were not prioritized within the project's scope, they remain opportunities for future development and polish.
Looking ahead, I see immense potential for expanding 'Edge of Divinity' into a more complete and fully realized game. The foundation I have established provides a solid base for adding additional content, such as new game modes, enemy types, and environments, that could further enhance the gameplay experience.
'Edge of Divinity' stands as a proof of concept, a testament to the joy of precise swordplay, and a stepping stone towards the realization of a fully-fledged game that captures the essence of becoming a godlike force of tranquil destruction.
Splash art by Midjourney AI image generator.
Jade Sword by Ole Gunnar Isager on Sketchfab (concept from Nico Navarro).
Free sound effects from Pixabay and Mixkit.
(I plan to replace these assets in the future.)
Previous game projects: copying and referencing my old code.
All the rest was made by me using my own brain power!
Check out the Project Breakdown to learn about my plan and thought process!
Your cursor dictates the direction your sword faces. Meaning: your sword points where you point.
The faster you swing, the more damage your slashes deal. Increasing your character's speed also increases this damage!
When a glowing white circle appears at your feet, you can activate a "Lunge". When you stand still, Lunging sends you flying forwards with a burst of speed. After a short while, you will start slowing down unless you hit a new target.
Successfully slashing a target creates a slowly closing white circle at your feet, indicating that you can perform a Lunge as long as the circle persists. Activating the Lunge gives you a speed boost and sends you flying toward the direction of your sword.
You also have the ability Pivot, which is a way to "fake" a hit (that means it activates your Lunge!).
You are able to slash several targets with a single swing. Whenever you hit a second target before the prior one's white Lunge circle dissapears, your Combo counter increases. Lunging while you have an active Combo will end it - and grant you a significant speed boost increasing with the number of hits in the Combo.
Check out the Project Breakdown to learn about my plan and thought process!
Avatar: TLA
I love Fire Bending, but I've always been dissapointed with its underwhelming powers compared to the other elements.
That's why wrote this concept for a new faction for the Avatar: The Last Airbender series. I call them the Thundersong Tribe.
DnD 5e
I'm tired of the treehugging Druid stereotype. So I created a subclass that embodies the law of the jungle. Only the strong survive.
Transform into a savage blend of humanoid and beast as you tear through enemies with fangs, claws, spikes, and magic.
Spacetram is a tiny infinite runner game I created by myself in a single week.
I wanted to try to challenge myself to create a complete game in Unity with limited time and still get all the necessary bits in there.
