That’s where the monster summoning comes from. Wouldn’t it be nice to have something like that? And you can’t do the same, because you don’t have a magic tome, so you have to fight that enemy with your close combat weapon, putting yourself in danger as it keeps shooting energy balls that, if they hit you, deal a good amount of damage. You walk around the dungeon and find an enemy that shoots energy balls at you. The character you control, Tama, can use a variety of weapons: swords, spears, axes, bows, and magic tomes (weapons that are the staple of the Fire Emblem series, which is one we also love and wanted to make a subtle reference to), but she has to find those weapons first, and chests are random (thus, not reliable). You can play Sword of the Necromancer in a relaxed way, as strategy and positioning of yourself, your allies, and enemies comes more into play than sheer amounts of things flying at you.Īnd to take advantage of that strategy, we have the summons. Our aim is to make for fluid combat, which does not mean necessarily a super-fast-paced one. To compensate for this, the game also helps the player a little by correcting the attack direction if there’s an enemy near. But in the same way, we didn’t want it to be as “rigid” as 2D Zelda games that’s why our game has 8-directional movement and animations. We wanted to make our game in a way that, to hit an enemy, you have to put yourself very close to it, and you attack only in the direction you’re facing, not in a wide arc that covers like 180 degrees around the character. The ones that opt for non-shooting combat have frantic battles where the character has a very wide range and doesn’t have to “aim” its attack. This is no doubt influenced by games like The Binding of Isaac, Nuclear Throne, or the aforementioned Enter the Gungeon. Nowadays, rogue-likes (or better, rogue-lites) tend to use shooting as their primary method of combat. 2D Zelda games had direct combat mostly based on hitting things with a sword, which is faster and simpler than the 3D installments (basically because there’s no need to move a camera or Z-targeting). That’s why we looked back at older games, and here’s where A Link to the Past steps into. Enter the Gungeon is so good it has spawned a bazillion other rogue-likes with twin-stick shooter mechanics and super fast-pace, lights and bullets everywhere, so what it does, it does very well.īut for our game, we wanted to take a different approach, a more calm experience. While we love its fast pace and mechanics, we feel that at some times it’s too much for many players (which is its main point, to be a rogue-like “bullet-hell”). Victor Pedreno: Enter the Gungeon is an excellent game which we love, but it also has things that we think could be handled differently to make the game a little more accessible. With so many titles releasing in the indie market every month, how do you pull from iconic games while adding new mechanics? With the days ticking down on the crowdfunding effort, I chatted with dev Victor Pedreno on the finer points of his work.Įrik Meyer: As Sword of the Necromancer is dungeon-crawler action RPG drawing inspiration from The Legend of Zelda: A Link to the Past and Enter the Gungeon, I’d love to hear about specific details you were inspired by and how the kernel for your project grew out of those elements. Having wildly blown past its target goal on Kickstarter, Barcelona-based Grimorio of Games‘ Sword of the Necromancer (produced and published by JanduSoft), stands out as a beautiful pixel-art ARPG with rogue-like elements, a game chasing forbidden knowledge as Tama seeks to resurrect the priestess Koko with the dark arts.
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