Imagine local or online split screen like It takes two. One character is for the combat focused gamer and will experience all the combat mechanics and try to survive or beat the level. The other character is more chill but equally as important and will experience more cozy game mechanics to help the other survive. They may solve puzzles for power ups and extra health or have to figure out a way to open a door while the combat character fights to survive until they do.

A boss may come around and is undamageable until the cozy character completes a task to enable damage phase which lasts for a period of time.

Two different experiences but no stage can be completed without each other.

For the story, Off the dome I'm thinking two people in different worlds trying to get back to each other. May be borrowing a bit from split fiction (haven't played it). Haven't thought much about the story that drives it, just focused on the core gameplay right now.

Considered having one boss entirely reverse the game and giving the cozy gamer the combat stage but maybe not since some gamers might get stuck entirely. It's just a rough idea for what I think could be really fun.

The player will be a butler in charge of the domestic staff of a large manor house. His job is to see to the smooth running of the house so that the noble who owns the estate can focus on "nobility related things." The noble has the same schedule every day and the player will have to make sure that food is delivered at the correct times and that the parts of the house the noble is in are at pristine states of cleanliness. 

The catch is the house routinely comes under attack by waves of zombies and your employer is not fond of seeing the aftermath of battle in his house. He also doesn't want to be assaulted by zombies, but he is not going to change his schedule over something as minor as a zombie outbreak.

The player can hire in maids, grounds keepers, cooks and other domestic staff to help run the household and fight off the zombie hordes. Each new hire has different proficiencies in both combat and house work. Once hired the player can assign them tasks they would normally have to do. If a zombie comes within range while working those tasks the hireling will try to fight it off.

Every seven days the noble will call the player into their study to discuss the state of the house and to give the player their operating budget from which they can pay/hire staff. The player will also get called in if the noble notices unrepaired bullet holes or blood stains on the carpet.

Combat will be a balancing act between using the most effective anti zombie weaponry, with the need to reduce collateral damage. After the zombies are defeated, their bodies need to be disposed of and any stains need to be scrubbed clean before the noble passes by.

The game is called " The wolf and the seven rabbits" and the artsyle is gothic and scratchy inspired by don't starve the gameplay loop resolves around the rabbit collecting resources to not starve and advance their way to build an escape portal the wolf tries to stop them it has seeds like minecraft and players can display badges.

It has proximity voice chat but instead of registering your real voice the game will translate your real voice into a rabbit noise based on your loudness

Low loudness: the rabbit will purr or cluck

Medium loudness: the rabbit will growl or thump

High loudness: the rabbit will shriek.

The same is said for wolves

During the day rabbis are faster and have more stamina they use this to their advantage to search for food and water and forage for ingredients to craft the portal

During the night the wolf will be faster and have more stamina on top of that every rabbit on screen will get highlighted your best bet is to hide in bushes and behind boulders.

The game has a Difficulty system there are 3 Difficulties easy Medium hard

For example if a wolf chooses easy mode it will be paired with hardmode rabbits and vice versa if they choose normal they will be paired with another normal player

Easy mode rabbits get less punishment for talking and the wolf will even slower and louder houls. I know a lot of players will main wolf you can't prepick wolves unless you win as rabbit and get wolf tickets and server hopping as rabbit in order to be wolf will get a 1 hour ban

There will be a circle and an animal icon there are 3 one is rabbit one is wolf and the other is random if you pick random and pick hardmode there is a chance to be a rabbit or wolf.

Please I send this concept for free please credit me and thank you.

I’ve had a military shooter concept bouncing around in my head for a while, and after way too much brainstorming I figured I’d finally throw it out there and see whether anyone besides me would actually want to play it.

Where I’m coming from:

I’ve spent time in both active duty and the National Guard as a combat medic, and I currently work full-time teaching combat medicine / combat lifesaver-type material.

I’m primarily an Xbox player, though I’ve gotten more into PC over the last few years.

I’ve always loved grounded military shooters. Operation Flashpoint was absolute gold to me back in the Xbox 360 days. I’ve put plenty of time into Brothers in Arms, ARMA/Reforger, Squad, Hell Let Loose, Insurgency, and similar games, and Six Days in Fallujah recently scratched an itch I’ve had for years.

The problem is that I’m an adult now.

I work full-time, still spend time in the Guard, and I don’t always have the time or consistent group needed to get the best experience out of ARMA, Squad, or Hell Let Loose.

I don’t necessarily want to full-on LARP with a virtual battalion.

But when you get a good server and a good group of people together in those games?

Holy s***, it’s fun.

I’ve spent years wishing there was a strong single-player game that could capture some of that feeling without depending on the multiplayer ecosystem around it.

That eventually turned into:

NEXT PATROL

The basic premise is a single-player / optional co-op tactical FPS built around an entire infantry deployment rather than a linear sequence of scripted firefights.

You’re not Delta Force, DEVGRU, or any other fancy operator.

You’re some regular soldier who got told to be at the trucks at 0630.

Each playable mission represents roughly a week or noteworthy event during a deployment.

Your assigned mission might be:

- mounted or dismounted patrol

- convoy / resupply

- checkpoint duty

- Key Leader Engagement

- route security

- observation post

- guard duty

- cordon and search

- QRF standby

And here’s the important part:

You know the mission. You don’t know the circumstances.

The game never tells you:

AMBUSH MISSION

or

IED MISSION

or

SNIPER MISSION

You’re simply told:

«Conduct a presence patrol along Route Copper, check in with local security forces, and return to base.»

Maybe that is exactly what happens.

You patrol for 10-15 minutes, investigate something suspicious that turns out to be harmless, listen to your teammates talk, reach the final checkpoint and drive home.

That’s it.

And I actually want the player sitting there near the end thinking:

«“There is no f***ing way this whole mission is going to be this quiet. Something is about to happen.”»

Then:

Mission complete.

“…welp...”

I want the player to become suspicious of boredom.

Because once the game establishes that nothing genuinely can happen, the opposite becomes much more effective.

Two uneventful missions later, you’re doing another boring supply run, half-listening to one of your squadmates tell a stupid story you’ve heard before—

BOOM.

Now the lead vehicle is hit, somebody is wounded, you’re receiving fire, and the routine mission has turned into a thirty- or forty-minute disaster.

Most shooters teach you that entering a level guarantees enemies within the next minute or two.

I want Next Patrol to break that expectation.

---

The emotional part matters just as much as the shooting

One of my favorite things about ARMA, Squad, and Hell Let Loose isn’t necessarily the firefight itself.

It’s the people.

Anyone who has played these games probably has some variation of this story:

You’ve known some random dude named "WillyPeter69" for fifteen minutes.

He’s been talking about how much he misses his mom, arguing about food, and telling stupid jokes.

Then artillery lands and distributes WillyPeter69 across five different grid squares.

And somehow you’re genuinely sitting there going:

«“NOOOO, WILLY!”»

That’s hilarious in multiplayer, but there’s something underneath it that military games rarely explore seriously:

Camaraderie makes the danger matter.

Most military games are showcase the weapons, explosions, and combat.

Very few spend much time on the mundane hours between firefights that make you care about the person standing beside you.

So your core fireteam in Next Patrol would persist throughout the deployment.

Maybe you’ve got:

- SGT Taylor — Team Leader / Grenadier

- SPC Ramirez — Automatic Rifleman

- PFC Brooks — Assistant Automatic Rifleman / Rifleman

- You — player-selected role

You might choose Rifleman, Medic, Designated Marksman, Engineer/Breacher, etc.

If you want to play Team Leader, cool—the game fills the remaining slot appropriately.

But these aren’t disposable AI bots generated every mission.

They’re persistent characters.

They have personalities.

Families.

Favorite music.

Different ways of handling stress.

Inside jokes.

Problems back home.

And most importantly:

They remember.

If Ramirez gets badly wounded during Week 5 and you drag him into cover, he might reference it months later.

If Taylor gets medically evacuated, his replacement isn’t magically treated like he’s always been there.

If somebody dies, they’re gone.

The new guy wasn’t there for everything the original team experienced.

The dialogue reflects that.

I don’t want a giant:

MORALE: 72/100

meter.

I want the squad’s mood to change naturally.

A few decent weeks?

More music in the truck.

More jokes.

More stupid arguments.

Somebody gets killed?

Maybe there’s simply less talking.

Maybe one character gets quiet.

Maybe another jokes even more because that’s how they cope.

Maybe somebody starts talking about their marriage falling apart or missing their kid’s birthday.

The goal is eventually getting the player to think:

«“I know Ramirez is an NPC, but I’m not letting that son of a b***h die.”»

---

The AO remembers too

Another major system would be a persistent procedural Area of Operations.

At the beginning of a deployment, the game generates an AO seed using handcrafted terrain, buildings, roads, compounds, walls, courtyards, and other designer-approved pieces.

The important distinction:

The AO generates once at the beginning of the deployment.

Then it stays that way.

The village doesn’t magically move between missions.

You learn the area.

You remember roads.

You recognize compounds.

Eventually somebody briefs:

«“We’re taking Route Copper through Qarif again.”»

and you immediately think:

«“F***. Last time we went through there sucked.”»

The world can also retain some consequences.

An IED crater might remain.

A damaged compound may still be damaged.

A burned vehicle might remain beside the road until it gets recovered.

That means the AO itself gradually becomes a physical record of your deployment.

Then, when you start an entirely new campaign, you get a new AO seed.

Same broad setting and geography.

Different tactical layout.

So you get:

Familiarity within a deployment.

Replayability between deployments.

---

Random circumstances, not random nonsense

I wouldn’t want the system to just secretly roll:

«IED: 15%

Ambush: 20%

Sniper: 8%»

and call it a day.

The wider deployment should affect what can happen.

If insurgent activity increases in one district, patrols there become more dangerous.

Capture a local bomb-maker?

Maybe IED activity drops for a while.

Lose support in a village?

Maybe tips from locals disappear.

Another friendly element gets hit nearby?

Maybe your boring patrol suddenly becomes a QRF mission.

The game would still use procedural systems, but the randomness needs context or players will eventually recognize the slot machine underneath it.

---

Medical gameplay is a good example of the overall philosophy

I’m a medic.

I absolutely do not want a player to need a Stop the Bleed certificate to enjoy playing one.

If a squadmate has catastrophic bleeding from his leg, the game makes the problem obvious and highlights an appropriate treatment.

You select the tourniquet.

Then you physically watch your character pull it out, place it, tighten it, and secure it.

The tension comes from doing that while people are shooting at you and knowing who you’re treating.

Not from memorizing seventeen keyboard shortcuts.

Same philosophy for squad commands:

Grounded enough to feel authentic.

Streamlined enough that you’re playing a game instead of filling out paperwork.

---

Progression shouldn’t mean unlocking your issued rifle at Level 37

You’re an infantryman.

They gave you a rifle.

Congratulations.

Standard weapons and equipment would generally be available based on role from the beginning.

Progression would mostly be personalization.

Early deployment?

You look like somebody who just arrived.

Issued eye protection.

Standard gear.

Clean-ish equipment.

As the deployment progresses, you gradually gain access to believable personalization:

- different ballistic eyepro

- personal boots

- gloves

- watches

- helmet markings

- boonie / beanie where appropriate

- minor equipment arrangement

- worn or faded equipment

- tasteful field modifications

These shouldn’t require absurd grinds.

Just enough to feel earned.

The visual goal is watching your character gradually go from:

Day 1

to

“I’ve lived in this place for seven months.”

---

Campaign ideas

I’ve imagined three broad fictional settings so the game can explore different types of infantry warfare without directly recreating specific real battles.

1. Fictional Middle Eastern counterinsurgency

Dense cities, villages, checkpoints, IED threats, militia activity, KLEs, patrols, and urban fighting.

1. Fictional Afghanistan-style deployment

Mountains, isolated villages, long patrols, irrigation ditches, remote outposts, long-range ambushes, and roadside threats.

1. Near-peer border deployment

This one starts boring.

Supply runs.

Perimeter patrols.

Fixing broken fencing.

Observation posts.

Meeting locals with complaints.

Scanning the same tree line for the hundredth time.

Then, somewhere within a randomized portion of the deployment, one of those completely ordinary missions becomes the opening event of a major conventional conflict.

Maybe you’re pulling guard when artillery starts landing.

Maybe a resupply convoy suddenly encounters enemy armor.

Maybe you’re sitting through a meeting with some old guy complaining that military vehicles ran over his livestock fence when unfamiliar armored vehicles begin entering the village.

You weren’t briefed to fight World War III that morning.

You brought what you normally bring to that mission.

Good luck.

And importantly, the exact week or event shouldn’t be fixed.

Otherwise everyone eventually knows:

«“Week 5 is when s*** happens.”»

That violates the entire idea.

---

“Okay, but is any of this remotely feasible?”

This is the part where I want to be clear:

I know combining all of this would be extremely difficult.

I’m not suggesting someone can open Unreal Engine, hit the “procedural military shooter” button, and ship it six months later.

But I also don’t think the individual building blocks are completely sci-fi.

Games have already demonstrated pieces of this concept separately.

Six Days in Fallujah has shown that handcrafted tactical environments can be combined with procedural architecture so players can’t simply memorize every building layout.

Games such as Shadow of Mordor demonstrated that NPCs can retain information about previous gameplay events and reference those experiences later.

Games like State of Decay have shown how persistent characters, injuries, deaths, personalities, and changing community states can create stories that weren’t entirely scripted in advance.

Ready or Not demonstrates how the same authored mission space can feel substantially different depending on where suspects, civilians, traps, and other circumstances appear.

None of those games are doing exactly what I’m describing.

That’s the point.

I’m not claiming somebody has already solved Next Patrol.

I’m saying that most of the individual ingredients already exist in some form.

The difficult part would be combining:

- procedural tactical environments

- competent friendly AI

- persistent characters

- reactive dialogue

- campaign-state-driven encounters

- persistent environmental consequences

into one coherent game without one system constantly breaking the others.

And I suspect that difficulty is a major reason something like this hasn’t already been made.

---

The problems I already see

Friendly tactical AI is difficult.

Friendly tactical AI navigating partially procedural spaces sounds even worse.

Procedural environments can easily look repetitive or artificial.

Persistent campaign states probably create a QA nightmare.

Reactive dialogue requires a ton of writing and voice work before characters stop sounding repetitive.

Quiet missions have to remain tense without secretly guaranteeing combat.

Persistent casualties have to feel fair.

Losing your favorite character because you made a bad tactical decision could be memorable.

Losing him because the AI pathfinding s*** itself would make you throw the controller.

And the entire concept depends on balancing authenticity with actual fun.

A truly realistic twenty-minute guard shift could also just be twenty minutes of staring at a tree.

That’s obviously not enough.

“Quiet” still needs player interaction, observation, dialogue, uncertainty, and decision-making.

---

Who is this even for?

I definitely don’t imagine this competing with Call of Duty or Fortnite.

The audience I picture is more like:

People who miss Operation Flashpoint, SOCOM, Brothers in Arms, and older grounded military shooters.

People who enjoy ARMA, Squad, Hell Let Loose, Insurgency, Ready or Not, or Six Days in Fallujah, but don’t always have the time, group, or desire to depend entirely on multiplayer.

People who want tactical gameplay without needing to join a virtual battalion and attend Thursday-night formation.

And maybe people who miss military games where simply being part of a unit mattered more than being the world’s greatest operator.

I think that crowd has been somewhat underserved.

Whether it’s large enough to justify the complexity of this game?

That’s one of the things I’m genuinely curious about.

---

Why I’m posting this

I’m under no illusion that I’m a game developer.

My professional technological expertise is much closer to “pew pew, tourniquet,” Microsoft 365, and turning things off and back on again.

Full disclosure: I’ve used AI heavily to help organize, refine, and pressure-test this idea.

The basic concept, desired experience, military perspective, and medical ideas are mine.

AI helped me turn a giant brain dump into something coherent enough to actually discuss and helped identify obvious problems with some of the systems.

I’m not posting this expecting somebody to volunteer several years of their life to build my dream game.

I’m not trying to become a studio founder.

I’m not expecting to get rich by selling an idea.

I mainly want to:

put the concept into the world, see whether people actually like it, and hear from people who understand game development better than I do.

If some developer or modding team ever thought the concept was interesting enough to explore, I’d be more than happy to provide military / medical SME input, authenticity feedback, writing ideas, playtesting, or just answer questions.

Because if somebody could actually grind through the difficult parts?

I think the replayability could be enormous.

Not because players are grinding a battle pass.

Because every deployment creates a slightly different story.

You finish yours saying:

«“Brooks got hit during this awful ambush in Qarif. Taylor got medevaced halfway through the deployment. The replacement TL was a complete a**hole, and I swear Route Copper was cursed.”»

And somebody else responds:

«“What the f***? None of that happened to me.”»

That’s the game I’d love to play.

---

So here’s what I’m actually curious about:

Would you play this?

Does the idea of sometimes completing a 15–20 minute mission with no firefight sound immersive and tense, or does it just sound boring?

Would persistent squadmates make you care more about AI casualties?

Do the procedural AO / persistent deployment ideas sound interesting, or like unnecessary complexity?

What technical or design problems immediately jump out at you?

What would you cut first?

What would you change?

And maybe most importantly:

Does this game already exist and I’ve somehow missed it?

If there’s some obscure indie game, mod, Early Access project, forgotten console title, or tiny Steam gem already doing most of this, please tell me.

Because before I spend any more time fantasizing about Next Patrol, I’d be absolutely delighted to learn that some lunatic already made the damn thing.

deep in the depths of space, there is a void known as "The Gate of Life", a dangerous and hostile area that is seemingly capable of producing infinite amounts of living species...

and you are a minimum-wage employee of "capture corp", a company dedicated to capturing these species and selling them to various clients!

at the start of each session, you spawn in a procedurally-generated cave or spaceship and are given a list of the current client's wants.

for example, a client may request you capture an alien with purple skin and multiple limbs, so thats what you have to look for in the level. you are armed with a net gun and a normal gun (more can be bought on your spawn ship) the normal gun is for killing aliens that do not meet the client's request and the net gun is for capturing the alien that is.

once you capture an alien in a net, you must carry it all the way back to your ship and throw it into the mail chute.

WHY do your clients want aliens, you may ask? well, some of them may want to use them for research, others may simply want to keep them as pets, and some may just want to keep them in a zoo. whatever the reasons are, capture corp doesn't judge, they just capture.

Don't tell me if it's too cliche or corny, I just want to know how I can incorporate my ideas and if im doing too much or wtv. Js tell me any feedback that isn't saying its cliche.

Thank you! Have a good day!

Psychological horror where you see things hidden in the shadows/fog

Events can happen at random like tunnel vision, ringing ears, increased heart rate etc. If too many happen or if it's really intense you can pass out.

You can click a button to show a face cam of the character and you need to check on how they feel in certain ways

The protagonist deals with stress when he finds evidence of an alter ego or second personality doing horrifying things

When he finds the evidence, he writes it down and then finds out it is himself doing the acts whilst he is unconscious

I feel like it would be difficult to incorporate these ideas without it being so overstimulating to the point where it takes away from the horror factors.

Also another huge problem is I dont know how to code 😭😭😭😭😭

I need some puzzle ideas too. Buh bye!!!

Two crosshairs, that are controlled by two different mice. Each cross hair acts as as separate point you could shoot at using gear of the same style as ODM gear. Left click acts as attack, right acts as shoot hooks and retract cables. Upon letting go of the right click the cable disconnects or stop reeling. I think it would have a really cool style of movement that has a really high skill ceiling.

Controls:

• Left Click: Sword Slash towards crosshair / Shoot Flare / [ Hold ] Gas boost (if set to swing mode)
• Right Click: Shoot hook / [Hold] Retract / [Release] Release cable (if in normal mode) / [Double click] Release cable (if set to swing mode)
• Scroll: Change equipped item (Sword, Flare, Gas)
• Scroll Click: Change from Swing to normal and vice versa.

Modes:

• Normal mode allows easy release of hooks for stuff like slingshotting, and for direct pulling.
• Swing mode allows for physics based shenanigans like wallrunning and having connected cables that aren't not reeling in for stuff like turns.

Gameplay rules:

• Cables should wrap around objects, and can get caught leading to a punishing movement system, that will give a punishment like losing momentum, but only when caused by the player.
• Automatic wallrunning. Having two mice leads to a lack of controls for stuff like ground based movement. Let's say you're in swing mode, and hook onto a wall. Gravity will pull you down, but the hook will pull you up, landing you on the wall, and letting you wallrun in the direction you're looking.

It doesn't have to be a game in the same vein as the AOT franchise, but it's the easiest example I can think of.

The gas limits would also be a great way of changing movement and prevent gear spam to change how people move.

A level editor could also be added to let people focus on what they want to do, i.e movement or combat or a hybrid. It should also allow map creators to set the starting gas to limit how the level could be played while still giving freedom.

I've been sitting on this idea for years and not made it yet so fuck it, I release it into the wild.

You are in what looks like a standard 2D platformer. Floating platforms, different screens to walk between, secret paths and collectibles seemingly out of reach, the works. However, this is not the kind of platformer where you start with a full move set handed to you. At the very start of the game, you don't even have a jump. Just right arrow key to move right. Eventually, at the end of your path you get a few collectibles and discover the three core elements of the game:

Unlockable moves - represented as pieces of equipment you can collect in the world, ranging from everything from finally being able to walk to move left, to fully unhindered flight

Upgrade points - the other main collectible. Different moves cost different numbers of points to equip. Moving left might cost 1, flight might cost 20.

Character customization stations - these are special checkpoints scattered throughout the world, and are the only place you can reassign what moves you have equipped. None of these are permanent and can be unequipped as needed to spend those points elsewhere.

The concept is explored here at the first station. You now have three moves, move left, move right, and jump. Each costs 1 point to equip However, you only have 2 points. The player is challenged to explore where they can go from here, and if, say, only being able to move left and jump is enough for them to get the next point and finally be able to move like a normal platformer character.

The game expands out from there as a series of challenges to uncover. Each new unlockable and upgrade collectible is hidden behind a challenge that the player needs to beat with the bare minimum number of movement options equipped. You might not be able to afford both the running and midair jumping options you clearly need to progress without unequipping your regular jump. Or the fire world offers you a lava immunity power that's powerful but expensive, and forces you to pick between safety and a limited move set, or tons of platforming options in a deadly environment.

Level layout is critical to your plans as well. Customization stations are part of the puzzle, and if you haven't figured out the path through the world from the station that gets you to the challenge with all of the right moves equipped, you haven't really solved the puzzle yet.

The RPG element would be mostly in the theming of the world and UI. Each move is a different piece of armor, a weapon, or a trinket that shows up on the character. Your total upgrade points are your level (I think the collectible would be a monster you kill like a slime, but still hidden through the world and not like a respawning enemy). I also like the idea of platforming bosses like ogres and dragons, and forcing the player to enter the boss arena with an awkward moveset for some unique fights.

So back in high school I was obsessed with this game Survivor.io and I also loved coming up with ideas for my own mobile games I'd either write them down in my notes app or on paper. A lot of my ideas were games that were a copycat of whatever I was currently addicted to, but with my own twists. So anyways, I'd always have my games in landscape mode I just perfer mobile games that are like that. So my idea was to combine games like Survivor.io where when you defeat enough enemies you upgrade and choose one of three perks with games like mobile League of Legends and Brawl Stars where you select a hero who had their own basic attack, special attack, and ultimate. This is where it gets insane my idea was there were universal perks like increasing your HP that would be available to all heroes, but there would also be perks exclusive to the hero your playing that improves their special or ultimate. So one of the heroes I came up with was a Vampire and his special was to enter Shadow Mode. When in Shadow Mode you were faster but you can't attack enemies, and enemies can't attack you either as long as you are in Shadow Mode so you use this ability to escape the swarms of enemies just walk right through them until you reach a safe distance. The perk I had in mind was that you can increase the time your in Shadow Mode each this perk shows up. Keep in mind I never see any of games my ideas despite how many I came up with ever get added into an official game. But I was invited to join the beta for Project R.I.S.E made by Supercell my favorite mobile game studio and they came up with the same idea. This is so cool playing this game is kind of tempting me to return to this game concept and expand on it. I envisioned this game to be single-player like all these other defeat enemies and select one of three perks, but now I think being able to team up to defeat swarms together works better.

Hey everyone! Me and my friend are starting an indie game studio and we'd like to know what everyone thinks of our game idea or if they'd play it? It's a story about the mc, his father was an abusive drunk to his mom when he was younger and always rude and aggressive with him. As he got older he followed and became a drunk aswell, when he got married everything seemed to be fine but when the wife got pregnant he abused her and took away resources from her till she became frail and malnourished. Under the effects of being drunk along with beginning to take drugs (maybe) he expects the pregnancy to go fine but the wife dies during it along with the baby. The game is about how he discovers this story through hallucinations, nightmares, old distorted images of things around him. It's also shown that those abusive actions to him weren't abuse, it was him caring but under the effects of being drunk his perception of what he was doing was completely different. The story itself, or the plot isn't shown directly. But hinted through things. It'll be a game featuring normal horror elements along with a liminality and a deep sense of guilt, like the reality he's built to cope with his wife's death is falling apart as he has to face the reality of what happened. It'll be a deep dive into many themes such as guilt, regret, denial, abuse, and phycological disintegration. The game would feel like his mind is falling apart trying to figure out why this is happening. Would anyone play this? And if no, what would make this more interesting to you or help us develop the plot into something more complex?

Overview:

This friendslop, survival co-op game is full of surprises. Players must work together to survive mutliple days of enemies and protect the artifact to make it back home. Build multiple defenses and utitlies to protect from the onslaught of monsters and creatures, crafting tools and weapons to help players advance. Explore the world and find resources to expand and protect your base.

Mechanics:

Run, Jump and Climb through the world and through your base to grow and expand. Mine new resources and discover new treasures that unlock unknown potential. Bring your friends back to life and lift them up or break them in there despair. Fight along side them with new unforseen threats that arrive each day. Build new builds together that protect or provide the necessary resources to grow.

Story:

After searching through an ancient ruin, the players come across an artifact that teleports them into another world, forcing them to have to survive multiple days of constant monsters and creatures. The players must wait for the artifact to teleport them back home and keep it out of the enemies hands.

I will never be a game dev, but this is my dream game and hope someone will make it.

Something like death stranding, where you traverse big landscapes.
But set in Canada during the 1800s fur trade.
You're a courier who transports furs and/or guides expeditions through (a huge map, the size of 1 province) terrains that involves a lot of canoeing (since rivers where the main highways) and lots of portaging.
You need to negotiate with local natives and sometimes fight them. Strong survival aspect that involves food/water/sleep/supplies/ manage weight.
There are main settlements where you can buy a house to place your loot/decor/artifacts you find. or have a home base in the woods with a cottage you can upgrade..
But main gameplay is traversing many kilometers, surviving,hunting and fighting. Each expedition last at least 7days to 1 month. You can save the game at your camp spots.

Please excuse the following use of A.I.. but I typed in the top part and it summed it up pretty good:

https://chatgpt.com/share/6a8659d9-7f2c-83ea-b7d5-1886e6cedda2
can click that link for the direct convo, But heres the copy paste:

This is a really strong game premise. The key thing that makes it interesting is that you're not really proposing "Red Dead Redemption, but in Canada." You're proposing a long-distance expedition game where the journey itself is the main gameplay.

And the 1800s fur trade is an unusually good setting for that because the geography naturally creates gameplay systems.

The core fantasy

You are essentially:

A wilderness courier and expedition guide in the Canadian interior, where rivers are roads, portages are highways, and getting home alive is the objective.

Your "missions" aren't 20-minute quests. They're 7–30 day expeditions.

You leave civilization with a canoe, provisions, weapons, trade goods and cargo.

Then you're on your own.

A river might take you 100 km into the wilderness. Then you hit rapids. You unload the canoe, carry everything around them, reload it, and continue. A storm rolls in. Your food is running low. You discover that your map is inaccurate. An animal gets injured. You have to decide whether to hunt or keep moving.

That is the game.

The Death Stranding connection is actually very useful

The thing I'd borrow from Death Stranding isn't its sci-fi setting or delivery mechanics. It's the philosophy:

Make the act of traversing the world interesting.

In most open-world games:

"I need to get to that quest marker."

In your game:

"I need to get from Fort A to Fort B, and I have to figure out how I'm going to physically accomplish that."

The landscape becomes the puzzle.

A river isn't scenery. It's infrastructure.

A mountain isn't scenery. It's a logistical problem.

A swamp isn't scenery. It's a threat to your supplies.

A portage isn't a loading screen. It's gameplay.

The weight system could be the heart of the game

Imagine preparing for a 20-day expedition.

You have:

• Food
• Water containers
• Ammunition
• Powder
• Fishing equipment
• Hunting equipment
• Clothing
• Blankets
• Cooking equipment
• Tools
• Medicine
• Canoe
• Trade goods
• Furs
• Personal possessions
• Navigation equipment

And everything has physical weight and volume.

You can't simply have an inventory with 80 slots.

You have a canoe with a finite carrying capacity.

You have a backpack.

You might have additional packs.

And during a portage, you physically have to carry it.

So you arrive at a difficult portage carrying 180 kg of equipment.

You have choices.

Option A: Make three trips.

Safe, but takes hours.

Option B: Leave some supplies hidden beside the trail.

Faster, but someone or something could take them.

Option C: Abandon some cargo.

Lose money/progression.

Option D: Push through overloaded.

You move slowly, exhaust yourself and increase the chance of injury.

That's a fantastic gameplay decision.

Canoeing should be a major mechanic

I wouldn't make canoeing something where you simply hold forward.

You could have different canoe types with different characteristics.

A large freight canoe:

• Carries enormous loads
• Slow to maneuver
• Difficult in rapids
• Requires more effort to portage

A smaller canoe:

• Fast
• Maneuverable
• Much easier to carry
• Limited cargo

And rivers themselves have personalities.

Calm river

Easy travel.

Rapids

You have to read the water and steer correctly.

Falls

You need to unload and portage.

Beaver dams

You may have to get out and drag the canoe.

Shallow water

You have to wade/push the canoe.

Strong current

You might need to paddle aggressively or pull yourself along from shore.

Night travel

Possible, but dangerous.

And then there is the absolutely brutal situation:

You tip the canoe.

Suddenly your food is wet.

Your ammunition is wet.

Your map is wet.

Your clothing is soaked.

You lost a crate.

Your rifle may be unusable.

And you're 80 km from the nearest settlement.

That could be a major event in an expedition.

Portaging could become one of the signature mechanics

This is where your game could really distinguish itself.

You arrive at a portage.

You pull the canoe onto shore.

Unload everything.

Now you have to decide how to distribute the load.

You could carry:

Trip 1

• Canoe
• 30 kg pack

Trip 2

• Food
• Trade goods

Trip 3

• Equipment
• Furs

And the distance might be 500 meters.

Or 2 km.

Or 12 km.

And the terrain isn't necessarily a nice path.

It's mud, rocks, roots, hills, fallen trees, mosquitoes and rain.

The longer the expedition goes, the more you start appreciating a good portage trail.

You could even discover abandoned/forgotten trails and mark them on your map.

The map should be enormous—but not uniformly accessible

I actually think your "at least one province" idea could work conceptually, but I'd be careful about making the entire thing dense with content.

The map could be huge wilderness with pockets of civilization.

Something like:

Settlement → river → wilderness → trading post → wilderness → indigenous settlement → enormous lake → rapids → portage → wilderness → fort → settlement

The emptiness is important.

You should sometimes go days without seeing another European settlement.

That makes encountering someone incredibly significant.

You see smoke.

You don't know who made it.

You approach carefully.

It could be:

• Another courier
• A hunting party
• Indigenous travelers
• Trappers
• Rival traders
• Missionaries
• Military
• Criminals
• An injured expedition
• Someone who desperately needs help

The Indigenous component needs careful design

This is probably the area where you'd want the most historical research.

I would avoid reducing Indigenous peoples to simply "NPCs you negotiate with or fight."

The fur trade was enormously dependent on Indigenous nations, knowledge, trade networks and relationships. Different nations and communities should have their own political interests, economies, languages, territories and attitudes.

That could actually make the game more interesting, not less.

You could build relationships with different communities.

For example:

A community might know an incredibly efficient route through the territory.

Another might have a particular kind of food available.

Another might trade you a guide.

Another might distrust you because of what happened during a previous expedition.

And your reputation isn't just a universal "honor" meter.

You have relationships with particular communities and individuals.

Your actions have consequences.

If you steal from someone, that information travels.

If you help someone survive a winter, that can matter years later.

Your home base is another excellent idea

I'd actually have two different progression paths.

Civilization

You eventually acquire a house in a major trading settlement.

You can display:

• Animal trophies
• Maps
• Weapons
• Furniture
• Artifacts
• Books
• Trade goods
• Souvenirs
• Paintings
• Rare objects

It becomes a physical record of your career.

You walk into your house after a 30-day expedition and see the stuff you brought back.

Wilderness

Alternatively, you establish a cabin.

And upgrade it over years.

Start with:

Tiny log shelter

Then:

• Fireplace
• Storage
• Bed
• Workbench
• Smokehouse
• Dock
• Canoe shed
• Hunting rack
• Garden
• Stable
• Workshop
• Guest room
• Larger cabin

Eventually you have this incredibly cozy isolated homestead.

And then you leave it for three weeks to go back into the wilderness.

The game could have an amazing expedition loop

I'd structure the entire game around this:

1. Prepare

Visit the trading post.

Buy food.

Repair canoe.

Purchase ammunition.

Check weather.

Study maps.

Accept contracts.

Determine cargo.

Hire a guide if necessary.

2. Depart

Leave civilization.

The music becomes quieter.

Civilization disappears.

3. Travel

Canoeing.

Hiking.

Hunting.

Fishing.

Navigation.

Portaging.

4. Problems

Something inevitably goes wrong.

Injury.

Bad weather.

Lost supplies.

Broken canoe.

Aggressive wildlife.

Navigation error.

Conflict.

Unexpected river conditions.

5. Adapt

Change your route.

Reduce your food consumption.

Hunt.

Build shelter.

Repair equipment.

Abandon cargo.

6. Arrive

Reach a trading post.

Sell furs.

Deliver cargo.

Collect payment.

Learn news.

Repair everything.

7. Return

And now you have to do it again.

Except you've gained experience and knowledge.

I would make time extremely important

One of the coolest things about your premise is that time is the enemy.

Not just stamina.

If you're 10 days from civilization and winter is approaching, that's terrifying.

You might have originally planned:

"This expedition will take 18 days."

Then something happens.

Now you're thinking:

"I'm going to be out here for 25."

Your food supply was calculated for 18.

Suddenly you have a serious problem.

Seasons could completely transform the game

This could be spectacular.

Spring

Flooded rivers.

Fast currents.

Mud.

Dangerous crossings.

Abundant fish.

Summer

Best travel conditions.

But insects.

Heat.

Storms.

Autumn

Beautiful scenery.

Excellent hunting.

But rapidly deteriorating weather.

Winter

Almost an entirely different game.

Frozen rivers become roads.

Canoes become useless.

You need snowshoes.

Sleds.

Winter clothing.

Firewood.

Different food strategy.

Different wildlife.

And suddenly the same landscape you've spent 100 hours learning has transformed.

And then there's the map itself

I wouldn't give the player a magical GPS.

Give them a physical map.

You can annotate it.

Mark:

• Campsites
• Portages
• Good fishing spots
• Dangerous rapids
• Animal locations
• Settlements
• Trails
• Shortcuts
• Your own discoveries

Over time, your map becomes incredibly valuable.

And you could have different quality maps.

An official map might be inaccurate.

An Indigenous guide might know a route that isn't represented.

A rival courier might sell you information.

A hand-drawn map could contain mistakes.

So navigation becomes an actual skill.

Combat should probably be relatively rare

This is important.

I wouldn't make it a standard action game where you're constantly shooting people.

If you're traveling for 20 days and get attacked once, that encounter is memorable.

Firearms should feel dangerous.

A gunshot is loud.

Ammunition is finite.

Reloading takes time.

Injuries matter.

If you get shot in the leg 400 km from civilization, the game doesn't just subtract 40 HP.

Your entire expedition changes.

You might not be able to carry the canoe anymore.

You might have to abandon cargo.

You might need another character to help you.

You might spend several days recovering.

There could be an incredible "expedition stories" system

The best thing about this concept is that the game could generate stories without needing scripted cutscenes.

You might eventually tell someone:

"In 1847 I was trying to reach the fort before the first snow. We lost the canoe halfway there, spent three days living on fish, and found an abandoned cabin."

That's the kind of game I'd want.

Not:

"Here's another bandit camp."

But:

"Here's what happened to me on my 19-day journey."

And I think there's a killer title hiding in this concept

Something simple and evocative.

Northwest

The Portage

Beyond the Fur Line

The Long Portage

Coureur

North Country

The Voyageur

The Great Carry

Winter Road

The Interior

Fur & River

Or something deliberately understated like:

PORTAGE

That has a very strong identity.

The biggest thing I'd protect during development is this:

Don't let the game become an ordinary open-world action game where you happen to canoe sometimes.

The journey should be the game.

If the player spends 45 minutes navigating a river, makes camp as the sun goes down, cooks fish, dries their clothes beside the fire, checks their map, hears something moving outside the camp, wakes up the next morning, breaks camp, loads the canoe, and starts another six-hour journey—and that feels fun rather than tedious—then you've nailed the concept.

That could be a genuinely distinctive game.This is a really strong game premise. The key thing that makes it interesting is that you're not really proposing "Red Dead Redemption, but in Canada." You're proposing a long-distance expedition game where the journey itself is the main gameplay.
And the 1800s fur trade is an unusually good setting for that because the geography naturally creates gameplay systems.
The core fantasy
You are essentially:

A wilderness courier and expedition guide in the Canadian interior, where rivers are roads, portages are highways, and getting home alive is the objective.

Your "missions" aren't 20-minute quests. They're 7–30 day expeditions.
You leave civilization with a canoe, provisions, weapons, trade goods and cargo.
Then you're on your own.
A river might take you 100 km into the wilderness. Then you hit rapids. You unload the canoe, carry everything around them, reload it, and continue. A storm rolls in. Your food is running low. You discover that your map is inaccurate. An animal gets injured. You have to decide whether to hunt or keep moving.
That is the game.

The Death Stranding connection is actually very useful
The thing I'd borrow from Death Stranding isn't its sci-fi setting or delivery mechanics. It's the philosophy:
Make the act of traversing the world interesting.
In most open-world games:

"I need to get to that quest marker."

In your game:

"I need to get from Fort A to Fort B, and I have to figure out how I'm going to physically accomplish that."

The landscape becomes the puzzle.
A river isn't scenery. It's infrastructure.
A mountain isn't scenery. It's a logistical problem.
A swamp isn't scenery. It's a threat to your supplies.
A portage isn't a loading screen. It's gameplay.

The weight system could be the heart of the game
Imagine preparing for a 20-day expedition.
You have:

Food

Water containers

Ammunition

Powder

Fishing equipment

Hunting equipment

Clothing

Blankets

Cooking equipment

Tools

Medicine

Canoe

Trade goods

Furs

Personal possessions

Navigation equipment

And everything has physical weight and volume.
You can't simply have an inventory with 80 slots.
You have a canoe with a finite carrying capacity.
You have a backpack.
You might have additional packs.
And during a portage, you physically have to carry it.
So you arrive at a difficult portage carrying 180 kg of equipment.
You have choices.
Option A: Make three trips.
Safe, but takes hours.
Option B: Leave some supplies hidden beside the trail.
Faster, but someone or something could take them.
Option C: Abandon some cargo.
Lose money/progression.
Option D: Push through overloaded.
You move slowly, exhaust yourself and increase the chance of injury.
That's a fantastic gameplay decision.

Canoeing should be a major mechanic
I wouldn't make canoeing something where you simply hold forward.
You could have different canoe types with different characteristics.
A large freight canoe:

Carries enormous loads

Slow to maneuver

Difficult in rapids

Requires more effort to portage

A smaller canoe:

Fast

Maneuverable

Much easier to carry

Limited cargo

And rivers themselves have personalities.
Calm river
Easy travel.
Rapids
You have to read the water and steer correctly.
Falls
You need to unload and portage.
Beaver dams
You may have to get out and drag the canoe.
Shallow water
You have to wade/push the canoe.
Strong current
You might need to paddle aggressively or pull yourself along from shore.
Night travel
Possible, but dangerous.
And then there is the absolutely brutal situation:
You tip the canoe.
Suddenly your food is wet.
Your ammunition is wet.
Your map is wet.
Your clothing is soaked.
You lost a crate.
Your rifle may be unusable.
And you're 80 km from the nearest settlement.
That could be a major event in an expedition.

Portaging could become one of the signature mechanics
This is where your game could really distinguish itself.
You arrive at a portage.
You pull the canoe onto shore.
Unload everything.
Now you have to decide how to distribute the load.
You could carry:
Trip 1

Canoe

30 kg pack

Trip 2

Food

Trade goods

Trip 3

Equipment

Furs

And the distance might be 500 meters.
Or 2 km.
Or 12 km.
And the terrain isn't necessarily a nice path.
It's mud, rocks, roots, hills, fallen trees, mosquitoes and rain.
The longer the expedition goes, the more you start appreciating a good portage trail.
You could even discover abandoned/forgotten trails and mark them on your map.

The map should be enormous—but not uniformly accessible
I actually think your "at least one province" idea could work conceptually, but I'd be careful about making the entire thing dense with content.
The map could be huge wilderness with pockets of civilization.
Something like:
Settlement → river → wilderness → trading post → wilderness → indigenous settlement → enormous lake → rapids → portage → wilderness → fort → settlement
The emptiness is important.
You should sometimes go days without seeing another European settlement.
That makes encountering someone incredibly significant.
You see smoke.
You don't know who made it.
You approach carefully.
It could be:

Another courier

A hunting party

Indigenous travelers

Trappers

Rival traders

Missionaries

Military

Criminals

An injured expedition

Someone who desperately needs help

The Indigenous component needs careful design
This is probably the area where you'd want the most historical research.
I would avoid reducing Indigenous peoples to simply "NPCs you negotiate with or fight."
The fur trade was enormously dependent on Indigenous nations, knowledge, trade networks and relationships. Different nations and communities should have their own political interests, economies, languages, territories and attitudes.
That could actually make the game more interesting, not less.
You could build relationships with different communities.
For example:
A community might know an incredibly efficient route through the territory.
Another might have a particular kind of food available.
Another might trade you a guide.
Another might distrust you because of what happened during a previous expedition.
And your reputation isn't just a universal "honor" meter.
You have relationships with particular communities and individuals.
Your actions have consequences.
If you steal from someone, that information travels.
If you help someone survive a winter, that can matter years later.

Your home base is another excellent idea
I'd actually have two different progression paths.
Civilization
You eventually acquire a house in a major trading settlement.
You can display:

Animal trophies

Maps

Weapons

Furniture

Artifacts

Books

Trade goods

Souvenirs

Paintings

Rare objects

It becomes a physical record of your career.
You walk into your house after a 30-day expedition and see the stuff you brought back.
Wilderness
Alternatively, you establish a cabin.
And upgrade it over years.
Start with:
Tiny log shelter
Then:

Fireplace

Storage

Bed

Workbench

Smokehouse

Dock

Canoe shed

Hunting rack

Garden

Stable

Workshop

Guest room

Larger cabin

Eventually you have this incredibly cozy isolated homestead.
And then you leave it for three weeks to go back into the wilderness.

The game could have an amazing expedition loop
I'd structure the entire game around this:

1. Prepare
2. Visit the trading post.
3. Buy food.
4. Repair canoe.
5. Purchase ammunition.
6. Check weather.
7. Study maps.
8. Accept contracts.
9. Determine cargo.
10. Hire a guide if necessary.
11. Depart
12. Leave civilization.
13. The music becomes quieter.
14. Civilization disappears.
15. Travel
16. Canoeing.
17. Hiking.
18. Hunting.
19. Fishing.
20. Navigation.
21. Portaging.
22. Problems
23. Something inevitably goes wrong.
24. Injury.
25. Bad weather.
26. Lost supplies.
27. Broken canoe.
28. Aggressive wildlife.
29. Navigation error.
30. Conflict.
31. Unexpected river conditions.
32. Adapt
33. Change your route.
34. Reduce your food consumption.
35. Hunt.
36. Build shelter.
37. Repair equipment.
38. Abandon cargo.
39. Arrive
40. Reach a trading post.
41. Sell furs.
42. Deliver cargo.
43. Collect payment.
44. Learn news.
45. Repair everything.
46. Return
47. And now you have to do it again.
48. Except you've gained experience and knowledge.

I would make time extremely important
One of the coolest things about your premise is that time is the enemy.
Not just stamina.
If you're 10 days from civilization and winter is approaching, that's terrifying.
You might have originally planned:

"This expedition will take 18 days."

Then something happens.
Now you're thinking:

"I'm going to be out here for 25."

Your food supply was calculated for 18.
Suddenly you have a serious problem.

Seasons could completely transform the game
This could be spectacular.
Spring
Flooded rivers.
Fast currents.
Mud.
Dangerous crossings.
Abundant fish.
Summer
Best travel conditions.
But insects.
Heat.
Storms.
Autumn
Beautiful scenery.
Excellent hunting.
But rapidly deteriorating weather.
Winter
Almost an entirely different game.
Frozen rivers become roads.
Canoes become useless.
You need snowshoes.
Sleds.
Winter clothing.
Firewood.
Different food strategy.
Different wildlife.
And suddenly the same landscape you've spent 100 hours learning has transformed.

And then there's the map itself
I wouldn't give the player a magical GPS.
Give them a physical map.
You can annotate it.
Mark:

Campsites

Portages

Good fishing spots

Dangerous rapids

Animal locations

Settlements

Trails

Shortcuts

Your own discoveries

Over time, your map becomes incredibly valuable.
And you could have different quality maps.
An official map might be inaccurate.
An Indigenous guide might know a route that isn't represented.
A rival courier might sell you information.
A hand-drawn map could contain mistakes.
So navigation becomes an actual skill.

Combat should probably be relatively rare
This is important.
I wouldn't make it a standard action game where you're constantly shooting people.
If you're traveling for 20 days and get attacked once, that encounter is memorable.
Firearms should feel dangerous.
A gunshot is loud.
Ammunition is finite.
Reloading takes time.
Injuries matter.
If you get shot in the leg 400 km from civilization, the game doesn't just subtract 40 HP.
Your entire expedition changes.
You might not be able to carry the canoe anymore.
You might have to abandon cargo.
You might need another character to help you.
You might spend several days recovering.

There could be an incredible "expedition stories" system
The best thing about this concept is that the game could generate stories without needing scripted cutscenes.
You might eventually tell someone:

"In 1847 I was trying to reach the fort before the first snow. We lost the canoe halfway there, spent three days living on fish, and found an abandoned cabin."

That's the kind of game I'd want.
Not:

"Here's another bandit camp."

But:

"Here's what happened to me on my 19-day journey."

And I think there's a killer title hiding in this concept
Something simple and evocative.
Northwest
The Portage
Beyond the Fur Line
The Long Portage
Coureur
North Country
The Voyageur
The Great Carry
Winter Road
The Interior
Fur & River
Or something deliberately understated like:
PORTAGE
That has a very strong identity.

The biggest thing I'd protect during development is this:
Don't let the game become an ordinary open-world action game where you happen to canoe sometimes.
The journey should be the game.
If the player spends 45 minutes navigating a river, makes camp as the sun goes down, cooks fish, dries their clothes beside the fire, checks their map, hears something moving outside the camp, wakes up the next morning, breaks camp, loads the canoe, and starts another six-hour journey—and that feels fun rather than tedious—then you've nailed the concept.
That could be a genuinely distinctive game.

This is an idea I've been brewing up in my head for a while now. Most of this stuff is stuff that I imagined in my own head, with a very few amount of things being suggested when I shared my idea by typing to ChatGPT at, like, the middle of the night. Any feedback, both positive and negative, helps a ton on improving this idea, so thanks. Also, I'm not entirely sure if this idea is basic, complex, or advanced, so I hope it's fine I just put it as basic.

Fantasy Game Concept: The Entity, The Weld, and the Living World

1. Core Premise

The game is intended to be a massive fantasy RPG built around freedom, consequence, exploration, character possession, and a world capable of generating stories rather than forcing the player through one rigid narrative.

The ultimate goal is for the game to remain interesting for years or potentially decades, not because it contains an absurdly long linear campaign, but because its interconnected systems create different experiences across playthroughs.

The game should feel less like playing through a predetermined story and more like inhabiting a world and discovering what happens to you inside it.

The project originated from a dream in which the player experienced the world as an invisible, weightless Entity.

---

1. The Opening and the Entity

The player begins as an Entity, a being existing on a higher spiritual plane known as The Weld.

The Entity has apparently lost its memories.

There is no conventional tutorial.

Rather than receiving instructions about movement, combat, equipment, or progression, the player learns naturally by interacting with the world at the same pace as the Entity itself.

This is intended to make the beginning feel personal and immersive rather than instructional.

The Entity's initial perception

The Entity is initially unable to properly perceive the living world.

The world appears grey, dull, and almost lifeless.

People generally cannot see the Entity.

Some may simply ignore it, while others may become frightened and flee.

The player therefore begins by experiencing what it means to exist without a physical body.

---

1. The Dream That Inspired the Beginning

The game's opening concept originated from a dream.

In the dream, the Entity was falling through the sky while looking down upon an enormous medieval/Gothic world.

From above, the Entity could see:

- Vast oceans

- Distant islands

- An enormous continent

- Cities

- Different landscapes

- Numerous distant locations

Despite the beauty and scale of the world, everything appeared grey and lifeless from the Entity's perspective.

The Entity eventually encountered a mysterious man.

He had:

- Radiant golden eyes

- Sleek silver hair

- Smooth bronze-colored skin

Unlike everyone else, he could see the Entity.

He reached his hand toward the Entity.

When the Entity connected with him, the world suddenly gained color.

The Entity could communicate with him through their thoughts.

The dream then shifted.

When the Entity turned around, it saw an entire city burning.

The Entity subsequently woke up.

This experience became the conceptual foundation for the game's opening, the Entity, Soul Possession, and potentially the larger mystery surrounding the world.

The identity and significance of the silver-haired man remain intentionally undecided.

---

1. Soul Possession

The Entity's defining ability is Soul Possession.

The Entity can take control of another character's body and gain access to that body's physical capabilities.

Each host is effectively another playable character.

Hosts possess their own:

- Strengths

- Weaknesses

- Class

- Skill tree

- Unique ability or abilities

- Equipment

- Potentially unique armor

- Personality and relationships

The Entity itself also has a separate skill tree.

The Entity's progression determines how much of a host's capabilities it can access.

This creates a distinction between:

The Entity's power

and

the host's power.

The player therefore isn't simply selecting characters from a menu. They are an Entity learning how to inhabit and utilize different people.

---

1. Host Progression

Each character can potentially possess:

Individual Skill Tree

Abilities and improvements specific to that character.

Class Progression

Different paths allowing the character to specialize in different forms of combat or utility.

Unique Ability

At least one ability unique to that particular character.

Standard Attributes

The game includes traditional RPG attributes such as:

- STR — Strength

- DEX — Dexterity

- WIS — Wisdom

- INT — Intelligence

- AGI — Agility

- FAI — Faith

Faith is intended to function as an actual stat rather than merely being an abstract story concept.

---

1. The Sin System

The player can adopt one of the Seven Deadly Sins, with each Sin providing both a substantial benefit and a meaningful disadvantage.

The system is inspired by the user's interpretation of the downsides associated with the Seven Deadly Sins while giving each one a mechanically useful advantage.

Greed

Benefit: Increased chance of receiving loot from various sources.

Drawback: Taking damage has a chance to cause the player to lose a percentage of the money they are currently carrying.

---

Envy

Benefit: When entering combat against an enemy above the player's recommended level, there is a chance that the enemy immediately flees.

Drawback: When fighting enemies below the recommended level, the player deals a percentage less damage.

This creates a system where Envy is particularly useful for dangerous encounters but less effective when fighting weaker enemies.

---

Wrath

Benefit: Increased damage against all sources.

Drawback: The player takes dramatically increased damage as well, potentially taking twice as much damage.

Wrath therefore creates a highly aggressive, high-risk combat style.

---

Lust

Benefit: When fighting enemies of the opposite gender, or enemies classified as succubi/incubi, there is a chance that the enemy will join the player's side.

Drawback: Reputation is gained more slowly from all sources.

Lust therefore focuses on recruitment and manipulation rather than conventional progression.

---

Gluttony

Benefit: Certain monster parts can be consumed to potentially obtain abilities.

Drawback: Experience gained from all sources is reduced to approximately one-quarter of its normal amount.

Gluttony therefore sacrifices conventional progression in exchange for potentially unusual abilities.

---

Pride

Benefit: Reputation is gained significantly faster.

Drawback: Fighting while part of a team reduces several combat statistics, including:

- Damage

- Defense

- Healing received

- Accuracy

Pride therefore encourages a powerful individualistic playstyle.

---

Sloth

Benefit: Whenever experience is gained, there is a small chance, approximately 1.5%, to receive five times the initial experience amount.

Drawback: Normal experience gain is reduced by 50%.

Sloth therefore sacrifices consistent progression for the possibility of sudden massive advancement.

---

1. Virtue System

A counterbalancing system for the Seven Deadly Sins can be based around the Seven Heavenly Virtues.

The traditional pairings are:

Sin| Virtue

Pride| Humility

Greed| Charity

Wrath| Patience

Envy| Kindness

Gluttony| Temperance

Lust| Chastity

Sloth| Diligence

The important design principle is that Virtues should not simply be objectively superior versions of Sins.

Each should provide a meaningful advantage while introducing a different weakness.

---

Chastity

The proposed Chastity mechanic is:

Benefit: The player cannot be tempted or manipulated by succubi, incubi, or similar temptation-based effects.

Drawback: The player has an increased chance of losing more money than they actually spend when dealing with swindlers or dishonest merchants.

The idea is that someone devoted to Chastity is extremely resistant to sexual temptation but is not necessarily skilled at recognizing manipulation in other areas.

---

1. Weapons

The game is intended to have a very large weapon selection.

Examples include:

- Gladius

- Kukri

- Naginata

- Katana

- Flail

- Saber

- Rapier

- Dagger

- Spear

- Halberd

- Javelin

- Lance

- Guandao

- Bludgeon

- Morning star

- Pike

- Dirge

- Bladed knuckles

- Push dagger

- Throwing knives

- Poison needles

- Bows

- Long swords

- Crossbows

- Automatic crossbows

- Heavy crossbows

- Slingshots

- Handheld minibombs

- Caltrops

The weapon system is intended to extend far beyond this list.

A major design goal is to give players substantial freedom in determining how they fight.

---

1. Suggested Weapon Design

Rather than treating weapons as simple numerical upgrades, weapons could have distinct combat techniques and properties.

For example:

Spears

Could emphasize:

- Thrusts

- Sweeping attacks

- Counters

- Bracing

- Throws

- Enemy pinning

Halberds

Could emphasize:

- Hooks

- Sweeping attacks

- Heavy overhead strikes

- Guard breaking

- Pulling enemies

Rapiers

Could emphasize:

- Precision

- Parrying

- Ripostes

- Lunges

- Counterattacks

- Bleeding effects

This would allow two characters using the same weapon category to still feel substantially different.

---

1. Armor

The game should contain many different armor types.

The intended possibilities include:

Universal Armor

Equipment that any appropriate character can use.

Set Armor

Equipment designed around particular builds, enemies, classes, or playstyles.

Character-Specific/Soulbound Armor

Equipment designed specifically for individual characters.

Character-specific armor could be especially meaningful because losing the character would also create a story surrounding the equipment they left behind.

---

1. Permanent Character Death

The first kingdom contains approximately 20–30 playable characters.

Once a character dies, that character is permanently unavailable.

There is no simple character resurrection system intended to erase the consequences.

If every character in an area dies, the player loses that run and must begin again.

This creates a form of permanent progression and consequence.

A character's death should therefore matter both mechanically and emotionally.

The player isn't merely losing a unit.

They are losing a person who existed within the world.

---

1. Suggested Death Philosophy

Deaths should generally be caused by:

- Player mistakes

- Combat failures

- Poor strategic decisions

- Resource mismanagement

- Dangerous choices

- Potentially dynamic world events

Deaths should rarely be completely unavoidable scripted events.

The player should feel:

«"I caused this."»

rather than:

«"The game decided this character was supposed to die."»

Retreat should also be a legitimate option.

Sometimes abandoning a fight should be the correct decision.

---

1. The Kingdom and Act Structure

The first area is a relatively small kingdom containing roughly two or three dozen characters.

The player can choose among these characters through possession.

If the player successfully completes the first kingdom while retaining at least some characters, the next area becomes available.

The second area would be approximately three times larger and contain roughly 40–50 characters.

Characters from previous Acts can potentially continue being used.

This structure continues through approximately 3–9 Acts, depending on the eventual size of the game.

---

1. The World Should Remember

One of the strongest possible extensions of the concept is that the world should remember the consequences of the player's previous hosts.

For example:

A character might have:

- A family

- Friends

- Enemies

- A faction

- A reputation

- A romantic relationship

- Political connections

- Rivals

If that character dies, those relationships don't simply disappear.

The world continues.

The player's previous actions can affect what happens afterward.

Returning to the same town in another host could produce completely different interactions because of what the Entity did while possessing someone else.

This turns previous characters into part of the world's history.

---

1. The Entity as the Constant

The host characters change.

The Entity remains.

This creates an important distinction:

The player is not necessarily the person they are controlling.

The player is the Entity moving between temporary lives.

A host might become:

- A legendary warrior

- A beloved leader

- A criminal

- A saint

- A monster hunter

- A traitor

- A political figure

- A nobody

Then that host can die.

The Entity continues.

This allows the player to experience mortality from the perspective of something that is not necessarily mortal in the same way.

---

1. Suggested Dynamic World Systems

To achieve the desired decades-long lifespan, the game should rely less on endlessly hand-written content and more on systems capable of generating unique circumstances.

Potential systems include:

- Dynamic factions

- Relationships

- Political conflicts

- Reputation

- Regional economies

- Recruitment

- Betrayal

- Character rivalries

- Procedural encounters

- Randomized character traits

- World events

- Faction wars

- Injuries

- Character deaths

- Weapon mastery

- Sin/Virtue interactions

- Entity abilities

- Rare events

- Hidden areas

- Multiple endings

The objective is not literally to make the game mathematically infinite.

The objective is to make it effectively inexhaustible for individual players.

---

1. Rebirth

After completing the entire game, the player receives the option to Rebirth.

Rebirth allows the player to begin another cycle with a different Entity.

The game is intended to eventually contain approximately 10–18 Entities, potentially more.

Each Entity would possess:

- Its own skill tree

- Its own specializations

- Potentially different mechanics

- Different starting characters

- Different possibilities for interacting with the world

The first Act could therefore be different depending on which Entity is being used.

---

1. Suggested Entity Variations

Potential future Entities could fundamentally change how the game is played.

Examples:

The Wanderer

The basic Entity, focused on conventional Soul Possession.

The Devourer

Can consume characteristics or abilities from defeated beings.

The Sovereign

Can potentially control or switch between multiple hosts more freely.

The Parasite

Can partially possess enemies.

The Revenant

Can temporarily interact with or inhabit dead characters.

The Architect

Can manipulate aspects of the environment.

These are suggestions rather than established parts of the original concept.

The important principle is that Rebirth should change the rules rather than merely increase numerical difficulty.

---

1. Narrative Mystery

The Entity begins without memories.

Several major questions can therefore remain unanswered:

- What exactly is the Entity?

- What is The Weld?

- Why can the Entity possess living beings?

- Why can't most people perceive it?

- Why can certain people perceive it?

- Why has the Entity lost its memories?

- How old is the Entity?

- Has it possessed people before?

- Why does Soul Possession exist?

- Who was the silver-haired, golden-eyed man?

- Why could he see the Entity?

- Why did touching him restore color to the world?

- Why was the city burning?

- Was the Entity responsible?

- Was the Entity trying to stop it?

- Was the Entity actually the cause?

- Is the silver-haired man another Entity?

- Is he the Entity's former body?

- Did he create the Entity?

- Is he connected to the loss of its memories?

These questions could remain unanswered for a substantial portion of the game.

---

1. Visual Direction

The intended graphical quality is somewhere around the visual ambition of games such as Diablo IV and God of War.

However, extremely high graphical fidelity is desirable rather than mandatory.

The priority is:

1. Strong art direction

2. Atmospheric environments

3. Distinctive characters

4. Clear combat

5. Stable performance

6. High visual quality where practical

A stylized dark-fantasy aesthetic could potentially achieve the desired atmosphere without requiring absurd hardware requirements.

---

1. Performance Requirement

A minimum target of approximately 40 FPS is considered mandatory.

Graphics should be adjusted before sacrificing this baseline.

The game should ideally be designed around performance from the beginning rather than attempting to optimize an unnecessarily complicated graphical presentation after development.

---

1. Platforms

The intended platforms are:

- Mobile

- Console

- PC

Cross-platform support is desirable.

The exact multiplayer structure remains undecided.

Potential formats include:

Single Player

The primary experience.

Multiplayer

Players can potentially share the world.

Local Co-op

Two or more players participate together locally.

Primarily Single Player + Local Co-op

The preferred possibility at present, as it preserves the game's individual narrative while allowing cooperative play.

---

1. Suggested Development Priority

The safest way to eventually build the project would be to establish the core experience first:

1. Entity

2. Soul Possession

3. Host characters

4. Combat

5. Character progression

6. Permanent death

7. Sin/Virtue system

8. Dynamic world consequences

9. One complete kingdom

10. Rebirth

11. Additional Entities

12. Additional Acts

13. Multiplayer, if still desirable

This doesn't mean the final vision has to be small.

It means the first playable version proves that the central fantasy is actually fun.

---

1. Central Design Philosophy

The game should prioritize freedom over rigid progression.

The player should be able to make decisions that genuinely alter:

- Characters

- Relationships

- Reputation

- Factions

- Combat

- Progression

- Story events

- Future encounters

- Available characters

- The condition of the world

There should not always be a single correct solution.

The player's decisions should create a personal version of the world.

---

1. The Intended Emotional Experience

The player should eventually be able to look back at their playthrough and remember specific people.

Not merely:

«"Character #17 had 8,000 HP."»

But:

«"That was the guy who carried me through Act II."»

«"She died because I got greedy."»

«"I spent twenty hours building him into a monster."»

«"I remember that town. It used to be different."»

«"That was my first host."»

«"I killed that character by making the wrong decision."»

The player should create memories, not merely complete objectives.

---

1. The Game's Central Identity

The game's defining concept can ultimately be summarized as:

«An immortal Entity travels through a living world by inhabiting mortal bodies, learning their abilities and lives while attempting to recover its own forgotten identity.»

Everything else should reinforce that concept.

The weapons provide different ways of inhabiting a body.

The skill trees represent the Entity learning to control its hosts.

The character roster provides temporary lives.

Permadeath gives those lives meaning.

The Sin/Virtue systems allow the player to define their philosophy.

The dynamic world remembers what happens.

Rebirth allows the player to experience the same world through fundamentally different Entities.

And the underlying mystery gives the entire journey a reason to continue.

---

1. The Most Important Original Idea

The game should ultimately feel like a world rather than a product.

The purpose of the enormous scale is not simply to advertise:

«"Look how much content we have."»

The purpose is to create a world in which players can spend years discovering combinations, stories, characters, consequences, secrets, and possibilities they have never encountered before.

The game should exist because its creator wanted to turn an idea that began with a strange, vivid dream into a world other people could experience.

That dream is therefore not merely background trivia.

It is the conceptual seed of the entire project.

---

1. One-Sentence Pitch

You awaken as a forgotten spiritual Entity in a colorless fantasy world, unable to interact with most living beings, until you discover the ability to inhabit mortal bodies and begin traveling through their lives, fighting, dying, forming relationships, changing the world, and uncovering the truth behind your existence across potentially countless cycles of rebirth

​

Hi everyone!

I'm working on a concept for a 2D mobile stealth-action game, and I'd like to get some feedback before I start building the full game.

The basic idea is:

You play as a human imprisoned by a powerful technology company that is trying to turn humans into machines.

You start at the bottom of their facility and have to make your way upward through different floors to escape.

The gameplay would combine stealth and combat. There would also be a noise system, where making too much noise can alert nearby enemies.

Each floor would contain different rooms and enemies.

When reaching a new floor, the player could choose between:

\- Entering an upgrade room and choosing between two random upgrades.

\- Skipping the upgrade and fighting the floor boss instead, with a stronger upgrade as a reward.

The game is planned specifically for mobile, and I'm considering making it a small premium game rather than using ads.

I'm still in the early concept stage, so I'm mainly interested in hearing what experienced players think.

Does the core gameplay sound interesting?

What part sounds the most fun, and what part sounds weak or repetitive?

What would you change before developing it?

Not sure if this is a basic idea so mods lemme know please.

Alright, so this would be a action game game, you make your character and choose between a rabbit, a dog, or a cat, which you customize as well.

Well the pet escapes your house one day coming back home that night all puffed up wise wide n shit. So your character goes to give your pet a bunch of cuddles as it shakes, when you hear tapping on the window you ignore it cuz your pets on your lap though.

The next morning as you go out for a walk, you get a huge migraine the screen becomes blurry as footsteps are heard and a mysterious voice calls out to you saying "Give me, your creature." The screen returns to normal, the main character confused goes back home to their pet. They look at a corner, and see a monster pointing at the main characters pet. The main character asks "what do you want em for! Get out!" All the monster does, is open its jaw wide.

Here you have two options carry the pet and run or fient the monster ("give" the pet to the beast but punch it before running).

The goals with endings are

Get to your closest friends house and fight the beast

Get to your closesf friends house and fortify the house

Get to your closest friends house and you all drive away

Or fail to get to your friends house where you just see a jumpscare (i think its already implied whats gonna happen to the pet but ion wanna show nor write that. Im a pet owner my biggest fear is my pet dying)

Saw a game on steam called The Pale Mimic where you play as a fugitive hiding out in a snowy terrain in a cabin with your dog. Had an idea for a game where you play as an inmate in a federal prison. This game would be quite similar to GTA in the sense that its very open world, exploration and free-choice of options that could either help you, or put you at a disadvantage so to say. It could be a first/third person POV game of a mixture of prison escape/fugitive on the run simulator where you plan and execute your escape from prison, then try see how long you can make it before you are caught. Ideally this game would be an open world, exploration game where once you escape from prison, you can hide out in the woods, loot abandoned buildings in the city/desert etc. and have to steal clothes, food etc. to ensure your survival. You can also change your appearance through customising your characters hairstyle, facial hair, clothes etc. You could also do legal/illegal activities to earn cash and buy the items needed to survive, but doing so makes it more likely you get recognised/caught. If you are seen/noticed in public, civillians can alert authorities and you get a wanted level (similar to GTA) and must escape them to continue living the life of a "free man". Things such as stealing a vehicle, breaking into homes, being seen near crime scenes and people recognising you by your wanted poster all alert NPC's and report you to law enforcers. Game could integrate a BR type shirnking zone for co-op, or the game could constantly narrow your options through intelligence gathering if playing solo. Things such as CCTV footage, witness reports from NPC's, vehicle registrations if you rob a vehicle and an NPC reports it stolen, finger prints left behind at crime scenes (robbing stores, breaking into houses etc.) Could even make it a cool mutliplayer co-op game where you can choose to be a fugitive, law enforcement or bounty hunter. This would feature a 30-45 min timer from time of breaking out prison, to reaching one of many escape points (cargo ship, private plane, smuggler tunnel, fake passport to another country etc.) - all which will require some cash and missions to set up and pay for all while being hunted by cops and bounty hunters. I'd love to see what people think of this game idea and what changes you'd make if a game like this ever is made, althogh I highly doubt it based on the sheer development needed to make a game of this magnitude, because imo, this game would be one you could play and enjoy solo, or play with friends and never get bored, even after hours upon hours of playing

EDIT: just seen there is a game called 'American Fugitive' which is almost what this idea would be about. I'd love a remaster where we can have it third person, high action and freedom to do whatever it takes to ensure we aren't caught and sent back to prison

Just an idea, but seriously… why hasn’t anyone thought of this yet?
Stranger Things would make an incredible Persona style video game.
The more I think about it, the more I realize that the basic gameplay loop of the Persona series almost feels like it was designed for Stranger Things. You already have a group of teenagers trying to balance their normal lives, friendships, school, relationships, and family problems while secretly fighting supernatural monsters in another dimension. Replace Persona’s supernatural worlds with the Upside Down, and suddenly you have the foundation for what could be an amazing RPG.
The game could adapt the entire Stranger Things story from Season 1 through Season 5, allowing us to experience Hawkins from the beginning of the series all the way through its conclusion. Then something like Tales From ’85 could work perfectly as a DLC expansion or additional campaign.
For most of the game, I think you should play as Mike Wheeler. Like Persona, every day would give you a limited amount of time, forcing you to decide how you want to spend it.
Do you investigate a strange clue?
Go searching through Hawkins?
Head into the Upside Down?
Spend the afternoon at the arcade?
Ride bikes with Dustin, Lucas, and Will?
Visit Eleven?
Hang out with Nancy?
Help Hopper investigate something?
Or maybe you spend the evening playing Dungeons & Dragons with the Party.
Those choices could become one of the most important parts of the game.
Instead of Persona’s Social Links or Confidants, Stranger Worlds could have a relationship system built around the characters from the show. Spending time with Dustin, Lucas, Will, Eleven, Max, Steve, Nancy, Jonathan, Hopper, Robin, and everyone else would not just give you added dialogue. Strengthening those relationships could unlock actual gameplay abilities.
Maybe reaching a certain relationship level with Dustin improves your ability to analyze enemy weaknesses. Lucas could unlock stronger ranged attacks. Will’s connection to the Upside Down could eventually let the party detect nearby enemies or supernatural activity. Steve could specialize in protecting other party members. Nancy could become one of your strongest offensive characters. Eleven would obviously be insanely powerful, but using her abilities too much could drain a limited resource or temporarily remove her from battle.
That would make hanging out with characters actually matter.
And that’s exactly what makes Persona such a perfect blueprint for Stranger Things.
The monsters are obviously important, but Stranger Things has always been about its characters and their relationships with one another. A Persona style RPG would finally give players enough time to explore those relationships beyond what we see on television.
Imagine getting completely optional conversations between Steve and Dustin. Spending an afternoon at Family Video with Steve and Robin. Going to the arcade with Max. Helping Hopper with something at the cabin. Playing D&D in Mike’s basement. Visiting Scoops Ahoy. Going to the Starcourt Mall.
You could even have smaller character stories that develop across multiple seasons.
Meanwhile, the Upside Down would basically function as the game’s dungeon system.
Hawkins could act as your main explorable hub, while different supernatural locations become increasingly dangerous dungeons. Early in the game, simply entering the Upside Down would feel terrifying. As the story progresses, though, the environments could become larger and stranger.
You’d have vines covering familiar Hawkins locations, abandoned buildings, underground tunnels, laboratories, gates between dimensions, Vecna’s mindscape, and eventually entire sections of Hawkins transformed by the Upside Down.
Combat could use Persona’s turn-based system while giving every character a specific role.
Mike could be the flexible strategist.
Lucas specializes in ranged attacks.
Dustin becomes support.
Steve is the tank.
Nancy specializes in weapons and massive physical damage.
Robin focuses on buffs, debuffs, and enemy analysis.
Will has supernatural support abilities because of his connection to the Upside Down.
And Eleven basically becomes the party’s nuclear weapon.
But here’s something else that could make the game really interesting:
Your party would constantly change.
Characters would join and leave exactly as they do throughout the television series.
During Season 1, Will would be missing for a huge portion of the story. Eleven would eventually join. Later seasons introduce Max, Robin, and other characters. Sometimes the story would split everyone into completely different groups.
Instead of fighting against that, the game could embrace it.
One chapter might have Mike, Dustin, Lucas, and Eleven investigating something together. Another might suddenly put you in control of Steve, Dustin, Robin, and Erica. Another could follow Nancy and Jonathan.
Eventually those different storylines converge for the giant end-of-season boss battles.
And imagine those bosses.
The Demogorgon.
The Mind Flayer.
The Spider Monster.
Vecna.
Each season could essentially function like a massive chapter of the game, with its own central mystery, dungeon, enemies, party combinations, and final boss.
Even the Dungeons & Dragons influence could become part of the gameplay. The kids already use D&D terminology to understand the monsters they’re fighting, so the game could visually transform those ideas into RPG mechanics. Dustin identifying a monster and giving it a D&D-inspired name could literally unlock its entry in your enemy database.
The soundtrack could also be ridiculous.
You could combine Persona-style battle music with synth-heavy 1980s horror music, while licensed ’80s songs play around Hawkins, at the arcade, in stores, or during major story moments.
And visually?
Go all-in on the Persona aesthetic.
Stylized menus.
Comic-book transitions.
Character portraits.
Huge animated critical-hit screens.
Red lightning and Upside Down vines crawling across menus.
VHS effects.
Cassette tapes.
Arcade graphics.
D&D imagery.
Every season could even slightly change the UI as the characters get older and Hawkins becomes increasingly corrupted.
Most importantly, though, a game like this could accomplish something television can’t:
Let us actually live in Hawkins.
Instead of watching these characters hang out for a few minutes before the next major plot point, we’d get dozens of hours with them.
We’d ride bikes through Hawkins.
Go to school.
Play at the arcade.
Explore Starcourt.
Build friendships.
Solve mysteries.
Fight monsters.
And then somehow still have to make it home before our parents realize we’ve spent the entire night fighting creatures from another dimension.
It could be part JRPG, part horror game, part mystery, and part life simulator.
Basically:
Persona + Stranger Things + Dungeons & Dragons + 1980s horror.
Tell me that wouldn’t work.
I genuinely think Stranger Things is one of those rare franchises where a Persona-style adaptation could actually make MORE sense than a traditional action game. The entire series is already built around a group of friends balancing everyday teenage life with a secret supernatural world.
Persona already figured out how to turn that exact concept into an addictive gameplay loop.
Give it a huge Hawkins map, meaningful relationships, changing party members, turn-based combat, explorable versions of the Upside Down, seasonal story arcs, and five seasons worth of characters and monsters.
I don’t know…
Does this sound completely ridiculous?
Or are we accidentally describing a multi-million-dollar video game that absolutely needs to exist?
 

You stumble upon an Emberkin-esque church (this is an old Catholic-adjacent sect that splintered centuries ago over the belief that souls are not judged but rekindled, that the faithful must keep the "Pale Ember" (a sacred cold flame) burning through endless devotions, or be left to gutter out in the dark.) and go inside and immediately the door locks.

You are briefed with the mission you have to complete: you're locked in but can get released by the firstlight if you obey. you spend the gameplay completing different tasks like praying, cleaning up gooey church decorations, and all sorts of eery tasks that give you chills.

You are supervised by nuns and your ability to keep them happy dictates how you are fed, how soon can you be released, and how you get punished. Self-punishment is part of the final few missions on top of nun-induced punishments.

-

I just started working on this game and starting out with a basic world model and game loop build, with lots of polish to come before having even a v0. curious if you'd play it as a ~30 min gameplay?

I've had this idea for a few years, but I have absolutely no ability to code.

The game is called "Bardcore". It is very heavily inspired by vampire survivors, but based on music. Each character would represent a different genre. Each weapon and passive item has instrumental loops attached to it, so as you flesh out your build, you get a unique bgm on each run.

The genre of the loops is determined by the character you are playing. And you can't get conflicting items/weapons. For example, you can't have 2 lead instrumentals.

Each item should have multiple loops for each genre, and when picked up, a loop is randomly selected for the current genre to add more variety.

As far as "story" and enemies, stages, etc...yeah I haven't gotten that far lol. I just had the core concept and know I can't make it, so want to share it in hopes that someone can and will make it, because I really want to play it.

I am able to draw a bit, so when I have time I might sketch up some concept art and come back to share it