The independent studio 5 Bits Games and the leading video game publisher and developer BANDAI NAMCO Games Europe S.A.S. today announced the launch of DeadCore, available now for download on PC, Mac and Linux. Descargar starcraft 2 wings of liberty full espanol iso.
Deadcore is a FPS mixing environmental puzzles with plaftormers elements. The main idea of the game is you must climb a gigantic Tower as fast as possible while avoiding to be kicked down by its security system (robots, turrets.): on your way to the top, you will recover your lost memories and eventually figure out the truth behind this strange universe.
- DeadCore You wake up in a desolated world after an endless fall through magnetic storms. Guided by your instinct,you start exploring this void surrounded place and you soon have to face questions as cryptic messages appear along your way.
- DeadCore is a skill based game like we don't see enough, made by an indie game studio with lots of passion! When you've finished a level DeadCore is a skill based game like we don't see enough, made by an indie game studio with lots of passion!
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Watch out the latest trailer of the game and make your way up to the top in the DeadCore universe!
Discover DeadCore, a Platformer-FPS set in a mysterious futuristic world combining exploration, puzzle and speedrun tactics. After an endless fall through powerful magnetic storms… you awaken. Your memory erased, you start exploring the world around you. Someone or something is pushing you higher and higher. Suddenly, you spot the most gigantic Tower emerging from the mists.
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You soon understand that to get the answers to your questions… you have to climb its summit. Use your skills and your SwitchGun to survive the security system of the Tower in staggering levels and labyrinths. Will you be able to reveal the secrets that lie beneath this fog-ridden world?
For more details on DeadCore, please visit www.deadcore-game.com
As is the case with an ever-increasing number of games, DeadCore grew out of a jam—the ‘7 Days FPS' game jam in 2012, specifically. 'We wanted to make a FPS but didn't have that much time to do it, so we decided to simplify the combat system to focus on others gameplay systems,' says game and level designer Adrien Pelov. The team had an image of large structures and landscapes they wanted the player to explore, so they started focusing on the platforming element. 'The image of a tower the player should climb arose quickly, along with the idea of simple enemies that would try to push the player back into the void.'
Historically, the FPS genre has generally been dominated by large AAA studio teams, which can make the prospect an imposing one for a small team. 'You have to find simple ideas that differ from what those games usually offer to players,' says Pelov. 'It may be a gameplay mechanic, a strong visual identity.' As is the case with many indie teams, they couldn't spend too much time developing the narrative elements of the game, instead choosing to stick to a simple gameplay mechanic they could iterate on, and a simple—yet distinct—visual identity that allowed to design levels quickly during the jam.' Once they coined the core experience and realized they had something different to offer from most shooters—one focused less on the actually 'shooting'—there was a confidence to move forward, as the team felt it wasn't playing in precisely the same field.
Because every member of the team lives in a different city, the most difficult aspect of development has been working remotely from one another. 'It makes everything more complicated, plus it is always sad not being able to have a drink with your friends after long rush sessions,' says Pelov. 'The most important thing we have learned is that it's easy to work remotely for a week, but it's a whole different thing to do the same for a year and a half—being close to your teammates is really important for communication and for staying motivated.' As nobody in the team had experience in a producer role, the team had to learn how to communicate despite the distance, while also organizing itself and setting schedules and deadlines.
The team is made up of Pelov (game/level design), Antoine Guerchais (programming), Arnaud Noble (sound design), Fabien Di Pardo (2D/3D art), Victor Parent (voice design), and Aymeric Schwartz (sound design/music). All members met during their studies at the Enjmin in Angoulême (France), where they all worked together before on various student projects (and some of us even later in the games industry).
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Because the game jam offered trials of Unity Pro, the choice of middleware was an easy one; the team had some experience with the software, and snatched up the trials immediately. 'Using Unity and a subversion server has allowed us to work remotely, and to integrate each other's work quite easily,' says Pelov. 'As the editor features most of the tools you need, everyone is mostly working with the same interface, the same ‘view' on the game, and can quickly test and build its current version. The interface for manipulating and composing game objects is pretty intuitive, and allowed us to pile cubes in multiple ways, making it easy and fast to iterate on each level brick.' It took the team about a day and a half to get the first prototype running. Di Pardo came up with the visual centerpiece: a series of cubes aligned in a void, which ignited the team's imagination.
Considering the size of the game's levels, Pelov says Unity's LOD and Occlusion systems were a great help. 'Most of our assets have between three and five levels of detail,' he says. 'It's a lot of work to create and fine-tune assets that have smooth transitions between their different levels of detail, but it's worth the effort. The LOD system also offers the opportunity to set medium resolution 3D models and textures in the lower setting, so the game can run properly on modest hardware.' The team's artist Di Pardo has also 'used and abused' Unity's Shuriken particle system, he says, making it part of everything in the game from gun FX and visual feedback to lightning, smoke and epic skyboxes.
There have been some memorable moments during the development of DeadCore , which helped keep the team motivated through the long development process. There was the Level Design Jam they organized with some of their crowd-funding backers. 'We spent a full weekend together in Antoine's flat in Paris drinking beers, saying stupid things and having a lot of fun watching our backers taking over the game mechanics and designing the most sadistic levels we had ever seen,' says Pelov. 'Our level designer was very proud of them.'
Another came during Deadlock's showing at the Games Festival in Cannes. 'It was the first time we had the opportunity to showcase the game during a public event, and it was really stressful but also very useful and interesting to watch players playing the game with its bugs and weird puzzles,' says Pelov. 'It was also very encouraging to see that young girls and boys were being able to play the game with a mouse and a keyboard, even if they hadn't that much experience with PC gaming; back then we realized that our controls were now polished enough and that the game was not as hardcore as we first expected.'
Finally, a chance encounter at the recent GDC in San Francisco yielded some unexpected results. 'As we were invited by Unity to showcase DeadCore at their booth, we were also invited to a party at a club where the 2014 demo reel of Unity games was displayed on a disco ball,' says Pelov. 'For some reason we found that really awesome, and we had the feeling that we somehow managed to unlock some kind of major achievement in our existence.'
For more details on DeadCore, please visit www.deadcore-game.com
As is the case with an ever-increasing number of games, DeadCore grew out of a jam—the ‘7 Days FPS' game jam in 2012, specifically. 'We wanted to make a FPS but didn't have that much time to do it, so we decided to simplify the combat system to focus on others gameplay systems,' says game and level designer Adrien Pelov. The team had an image of large structures and landscapes they wanted the player to explore, so they started focusing on the platforming element. 'The image of a tower the player should climb arose quickly, along with the idea of simple enemies that would try to push the player back into the void.'
Historically, the FPS genre has generally been dominated by large AAA studio teams, which can make the prospect an imposing one for a small team. 'You have to find simple ideas that differ from what those games usually offer to players,' says Pelov. 'It may be a gameplay mechanic, a strong visual identity.' As is the case with many indie teams, they couldn't spend too much time developing the narrative elements of the game, instead choosing to stick to a simple gameplay mechanic they could iterate on, and a simple—yet distinct—visual identity that allowed to design levels quickly during the jam.' Once they coined the core experience and realized they had something different to offer from most shooters—one focused less on the actually 'shooting'—there was a confidence to move forward, as the team felt it wasn't playing in precisely the same field.
Because every member of the team lives in a different city, the most difficult aspect of development has been working remotely from one another. 'It makes everything more complicated, plus it is always sad not being able to have a drink with your friends after long rush sessions,' says Pelov. 'The most important thing we have learned is that it's easy to work remotely for a week, but it's a whole different thing to do the same for a year and a half—being close to your teammates is really important for communication and for staying motivated.' As nobody in the team had experience in a producer role, the team had to learn how to communicate despite the distance, while also organizing itself and setting schedules and deadlines.
The team is made up of Pelov (game/level design), Antoine Guerchais (programming), Arnaud Noble (sound design), Fabien Di Pardo (2D/3D art), Victor Parent (voice design), and Aymeric Schwartz (sound design/music). All members met during their studies at the Enjmin in Angoulême (France), where they all worked together before on various student projects (and some of us even later in the games industry).
Deadcore Download For Macbook Pro
Because the game jam offered trials of Unity Pro, the choice of middleware was an easy one; the team had some experience with the software, and snatched up the trials immediately. 'Using Unity and a subversion server has allowed us to work remotely, and to integrate each other's work quite easily,' says Pelov. 'As the editor features most of the tools you need, everyone is mostly working with the same interface, the same ‘view' on the game, and can quickly test and build its current version. The interface for manipulating and composing game objects is pretty intuitive, and allowed us to pile cubes in multiple ways, making it easy and fast to iterate on each level brick.' It took the team about a day and a half to get the first prototype running. Di Pardo came up with the visual centerpiece: a series of cubes aligned in a void, which ignited the team's imagination.
Considering the size of the game's levels, Pelov says Unity's LOD and Occlusion systems were a great help. 'Most of our assets have between three and five levels of detail,' he says. 'It's a lot of work to create and fine-tune assets that have smooth transitions between their different levels of detail, but it's worth the effort. The LOD system also offers the opportunity to set medium resolution 3D models and textures in the lower setting, so the game can run properly on modest hardware.' The team's artist Di Pardo has also 'used and abused' Unity's Shuriken particle system, he says, making it part of everything in the game from gun FX and visual feedback to lightning, smoke and epic skyboxes.
There have been some memorable moments during the development of DeadCore , which helped keep the team motivated through the long development process. There was the Level Design Jam they organized with some of their crowd-funding backers. 'We spent a full weekend together in Antoine's flat in Paris drinking beers, saying stupid things and having a lot of fun watching our backers taking over the game mechanics and designing the most sadistic levels we had ever seen,' says Pelov. 'Our level designer was very proud of them.'
Another came during Deadlock's showing at the Games Festival in Cannes. 'It was the first time we had the opportunity to showcase the game during a public event, and it was really stressful but also very useful and interesting to watch players playing the game with its bugs and weird puzzles,' says Pelov. 'It was also very encouraging to see that young girls and boys were being able to play the game with a mouse and a keyboard, even if they hadn't that much experience with PC gaming; back then we realized that our controls were now polished enough and that the game was not as hardcore as we first expected.'
Finally, a chance encounter at the recent GDC in San Francisco yielded some unexpected results. 'As we were invited by Unity to showcase DeadCore at their booth, we were also invited to a party at a club where the 2014 demo reel of Unity games was displayed on a disco ball,' says Pelov. 'For some reason we found that really awesome, and we had the feeling that we somehow managed to unlock some kind of major achievement in our existence.'
It's been a learning process from start to finish, and one the team is proud of. 'On a micro level, the thing we're the most proud of are the controls,' says Pelov. 'They really needed to be very responsive and intuitive, so players could face the (hard) challenges of the game and pass through multiple ‘die and retry' loops without being frustrated by something like the ‘unfairness' of the game.' As players rarely tell the team that their death was 'the game's fault', there's been a growing sense that the controls and AI are properly dialed-in. And how about the macro level? 'We're really proud of having brought a jam prototype to such a polished state without paying ourselves, [and] without killing each other,' says Pelov.
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Unity Asset Store
'We definitely use the Unity Asset Store,' says 5-Bits Games' Adrien Pelov. 'Why try to reinvent the wheel, right?' The team used a combination of both free and paid plugins, covering a number of purposes. 'It could be for the menus, FX, or shaders—the Unity Asset Store has a nice variety of packages. We think that it's great for small or indie developers—[it's nice' to know that before saying, ‘No it's impossible, we don't have the time/skill/money to include that cool feature in the game,' we can always check the Unity Asset Store to see if someone already did it.' The list includes Hard Surface, iTween, Volumetric Objects, NGUI, Detonator, Pyroclastics and Game Analytics.
Getting Noticed
'One thing we've learned is how important it is to promote your game, and to build a community around it,' says says 5-Bits Games' Adrien Pelov of working on his first self-published game. 'This is especially [true] if you're a small, unknown indie team: it means that we had to learn how to contact the press, as well learn how to communicate with players when we had to announce something or simply when we were answering their comments and feedback.'
