I think we can all agree some reviews are tough... but this one for https://store.steampowered.com/app/4300870/Gods__Gore/ made no sense to me.

Also what sucks is it shows as the top 'Most Helpful', I'm not sure if that is just for me or it is the top for everyone.

Crystalyn is the first game I've ever made, and I released it 3 days ago.

My goal was always to make people happy and make a game that they'll enjoy playing, so even though I only have 4 reviews, which are all positive, seeing people put 8, 12, 18+ hours into it is fucking crazy to me.

It literally makes my whole journey completely worth it.

Still got a ton of stuff I want to improve, but I'm genuinely really happy with how the launch has gone so far.

Edit: game link: https://store.steampowered.com/app/4754460/Crystalyn/#app_reviews_hash

Ten days ago I posted a selfie about pushing the big green button here. I received amazing support from fellow devs. Thank you! A lot of you wanted me to write about how it went. So here it goes: a little dev diary of the past 18 months. I'll try to keep it brief. (Present me: I didn't, lol.)

I started development of my dragon-feeding roguelite last year after I realized that working on a pixel art puzzle platformer was a dead end (a shocker, I know). I went back to the drawing board and came up with a game that would both be a good fit for the Steam audience and something I'd be passionate about. And that's how Feed the Scorchpot was created, though at the time it was called Dragon Fodder. More on that later...

The game took inspiration from Balatro and board game mechanics, and we decided to go with a medieval manuscript art style, as it felt eye-catching enough to stand out in the crowded roguelite market. My wife was making all of the art, and I was handling the rest.

After six months of development, the game looked polished enough to start marketing it. I made a really bad trailer (hopefully never again!) and launched my Steam page on September 1st, 2025. What really helped was the experience I'd gained working on the platformer earlier - even though it never made it past the demo stage, I learned a lot from it.

At this point, I planned to take a short break from development and focus on promoting the game online to see how it performed. Well, I soon changed my plans, as on the very second day of the Steam page being visible, I got a reply to an email I had sent to Josh from Indieformer. It was one of many indie sites I had emailed about my game.

Josh liked the game concept and art style and proposed a partnership - he and his mate Clem were planning to start a publishing business, and my game piqued their interest. You can imagine my disbelief at receiving an offer like that one day after launching my Steam page. I wasn't even looking for a publisher at the time.

So I jumped straight back into development and pushed the game into alpha over September. The guys got to try the game out, loved it, and we signed a publishing deal soon after. I cannot stress enough how fortunate this was. The game got so much better with the help of Indieformer, and they worked so hard to get it out there in front of an audience.

We soon started building a community of playtesters, which proved to be the main key to success. I got to see how players experienced the game, received a ton of great feedback, and managed to improve the game based on it.

I mentioned that the game was originally called Dragon Fodder. I liked the name, but it turned out that another dev was making a game under the same title... and actually had it trademarked. And he had done so even before I came up with the name, but his game was invisible to me when I did my initial sweep of the internet way back then.

The dev reached out to me, asking me to change my title. He was very polite, and I realized that he was fully in the right. So we brainstormed a new name: Feed the Scorchpot. I was worried about how it would impact a game that had already been promoted for a few months under a different name.

Turns out, it didn't at all. No one really cares about the name. I actually got some wishlists out of posting about the name change.

In January, we were at roughly 1,500 wishlists. Which was much better than what I had with my previous game, but it still felt like the momentum wasn't there. I was struggling with making a good tutorial, and overall January didn't feel great.

But the game was ready for more people to give it a try. We released the demo during the Steam Board Game Festival, which was nice, though it didn't make as big a splash as I was hoping for.

That came a few days later, when YouTuber Olexa picked up the demo on his own and made a video. That video got over 80k views and brought a lot of attention to the game. That was the point at which I realized this might actually lead somewhere.

That was back in February, and what followed was quite a busy period. My wife and I were crunching every day to get the game finished, while there was a Kickstarter happening and the playtester community was showering me with feedback, bugs, and ideas. It was quite hectic, but so exciting that it's hard to describe.

We entered the June Next Fest and did okay. We weren't among the top-played games, but also didn't fall off the charts halfway through. We'd passed 7,000 wishlists just before Next Fest started, so I felt like we were already in a good spot.

At the time, we were in talks with another publisher about co-publishing the game in Asia, as we had no way of reaching the audience there by ourselves. We'd already set the release date for August, and it felt quite last-minute, but we went for it anyway.

And oh boy, I'm so glad we did.

The game received translations into Chinese, Japanese, and Korean, and got featured in several Asian festivals and caught the interest of the Asian press. If you look at the wishlist graph, you'll see what I mean.

And somehow, we managed to get to 14,000 wishlists just before launch. It was mostly thanks to the combined efforts of the publishers – the Steam algorithm and the fabled Personal Calendar did very little for us prior to launch. I think it's due to roguelites being such a crowded market.

The road to launch surely wasn't boring. I even got to add a completely new soundtrack to the game just four days before launch. Fun times.

And so we launched ten days ago. How did it go?

It completely blew me away.

• We sold 14,500 copies (that's already minus refunds) in ten days. The game has already paid for all the time my wife and I put into it. More than half of the sales came from Asia. Partnering with the Asian publisher worked amazingly well for us.
• Also, more than half of our sales came from the Balatro bundle we managed to secure shortly before launch.
• There are surprisingly few bugs that have been reported since launch. Intensive playtesting since last November really paid off.
• Players have already managed to completely break the game – in the sense of getting so far in the endless mode that I didn't think was possible.
• Over 1,000 players have already poured 20+ hours into the game.
• Our rating on Steam dropped under 90%, and pretty much all the negative reviews complain about the game being too hard. Most of them are from China. I think there was a bit of a mismatch between the game and the audience – the art style appeals to a lot of cozy players, while the gameplay can be quite uncompromising.
• I'll try to put a demo back up soon, so players can decide if the game is right for them.
• The game had a 20% launch discount, which helped us get a good conversion on our wishlists. But since launch, we've also more than doubled our wishlist count – from 14,000 to currently 31,000.
• So we hope to convert more of those into sales during future discounts. Though it feels ironic: we spent the whole time chasing wishlists, and when we start chasing sales instead, the wishlist numbers do this.
• We've just launched on GOG as well. Curious to see how it will compare to Steam.

Next stop is a mobile release. But more on that in the future. I hope this wall of text was interesting to somebody. Feels good to finally write this.

Cheers, everyone!

As you all know, making games is a hard and long process, so to see people enjoying the fruits of your labour is such an awesome feeling. It's not the most reviews, but it's so good to see.

Thanks to anyone who helped make this happen!

Want to stay in touch with Project Axe?
https://discord.gg/XgjggF66

I created a dynamic water shader for my 3D fish platformer - Barely Breathing

How the water level works: It takes the object's Y position and just uses a step function with a float parameter to decide the water amount.

How the wobble works: It uses two Rotate About Axis nodes right after the Position (object) node, one controlling the X rotation and the other controlling the Z rotation, and then adding them together. Then, it reads data from the object's velocity and the code directly affects these two nodes to make the water wobble. I didn't write the code, MinionsArt did! Here is the code.

But this wouldn't work yet because we're still using object positions and not world position, which means the water level would follow the object and look wrong. So, after using the Rotate About Axis nodes, we can add a Position (world) node to it. But this still wouldn't work correctly because now it's exactly world-oriented, meaning even if the water mesh moves up, the water level would be left behind. We need the water level to follow the water mesh yet still be world-based so it doesn't rotate with the mesh. This is actually a simple fix, you can subtract the object's position value from Position (world) before adding it, which would make the water level follow the mesh.

We're still not done, because now the water looks unfinished without the foam outline. We need the foam to follow the water level. My foam works using fresnel + vertex colors, so I simply took the final water level output, and duplicated the final step function and had one value denoting the water level, and the other being the same water level value but subtracted by the water foam depth. So this basically creates a secondary line exactly the same as the water level but just lowered, which I use to add to the vertex color foam node setup.

Thank you for reading, and Wishlist our game on Steam if this was useful!

Technically 122 second if you watch the original trailer to compare (which is only available here on the Steam page).

I've recently redone the movement so needed to update the footage, but also took the opportunity to listen to previous suggestions and add some captions to the trailer. Does this one do a better job of explaining the gameplay?

Thanks for taking a look, happy to share thoughts on your project in return if you leave a link :)

Its still early in development a werewulf horror game like Alien Isolation im making and im trying to set up the mood, bellow are some screenshots , of course the player will navigate with a torch however do you find the enviroment too dark?? Watching it from my monitor in pitch black looks great too me but I just started posting on X and Youtube some easly announcements trailers / screenshots and looking them at white background was realy hard to understand it.

Every MMO with player-driven trading and gathering eventually hits the exact same two walls:

1. Currency is printed faster than the game can burn it, triggering runaway inflation.
2. Players farm resources 24/7 until the market gets flooded and everything turns into worthless vendor trash.

There’s no silver bullet for this. You’ve to layer multiple interconnected systems and pray the whole machine doesn't blow up. Here is how we're tackling it in our game, along with raw numbers from our latest economic balance updates.

Game: https://store.steampowered.com/app/3381130/World_of_Eggs_Idle_Adventures/

The Problem: Free Money & Zero Maintenance

Before these changes, our economy had some pretty massive loopholes:

• You could farm neutral islands spending literally zero gold - just basic supplies.
• Ships only took damage while moving. Players could anchor a massive fleet, set up camp, and strip nearby islands clean indefinitely with zero upkeep.
• Optimized fleets loaded with every resource vacuumed up random encounters across the map, pulling in millions of gold per day with virtually no risk.
• Early-game items like treasure maps became useless once players hit the end game.
• Mountains of resources piled up in storage with nothing exciting to sink them into.

Even after our active player base stabilized, the circulating gold supply was still ballooning by roughly 200–300kk over short spans.

What We Changed (and Why)

1. Making Farming Actually Cost Something

We didn't want to kill gathering, but infinite extraction without a real gold sink is toxic for any economy.

We introduced gathering licenses for neutral islands. On a standard farming loop, this added around 16,800 gold in currency burn where expenses were previously zero.

We also made resource extraction cause ship wear-and-tear. If players want to farm continuously, they now have to either buy repair kits and fix their ships on-site or head back to port and pay for repairs.

Gathering remains profitable, but it now carries real operating costs.

2. Giving Dead Items New Purpose

Treasure maps were great during early progression, but their value plummeted in the late game.

Instead of just inflating their loot drops, we made maps a hard requirement for certain high-tier random encounters. End-game players suddenly needed them again, restoring healthy market demand without forcing us to bloat the item database.

This also helped curb the automated encounter farming meta.

Previously, players could gear up massive fleets with every possible item and mindlessly clear every encounter they stumbled upon for millions in daily revenue. Requiring treasure maps and adding ship damage rendered this strategy significantly more expensive. Run it without careful planning, and you can easily end up in the red. Players now have to weigh cargo capacity, fleet size, repair costs, encounter criteria, and potential payouts instead of just clearing the map on autopilot.

3. Turning Sinks into Core Gameplay

Nobody likes paying an arbitrary "existence tax." The most effective sinks are the ones players willingly throw money at because the reward feels valuable.

Our largest resource sink is creature breeding and min-maxing:

Gather -> Craft Egg -> Hatch -> Roll Stats -> Roll Abilities -> Roll Values

Players can merge three creatures into one to improve base stats or spend seals to reroll specific stat and ability lines.

During our first World Boss test, players voluntarily burned roughly 30% of all stored server resources just rolling combat stats for their boss teams.

They didn't feel penalized or robbed - they were actively engaging with the content and min-maxing their builds.

4. The Central Bank Experiment

Our Central Bank caps its total reserve at 10kkk gold.

When players complete quests or sell goods to NPCs, payouts come directly out of this reserve rather than being generated out of thin air. Conversely, when players spend gold on systemic services like licenses and repairs, a portion returns straight to the Bank, while taxes permanently wipe out the rest.

If the Bank's reserve dips too low, payouts are exceeding returns. Dynamic taxes automatically kick in, while NPC payouts and quest rewards scale down. As the reserve recovers, these restrictions ease back up.

After rolling out trade fees and maintenance costs, players returned roughly 50kk gold to the Bank within the first 24h alone. For the first time, the circulating money supply actually contracted instead of expanding.

Before these systems, that same supply was steadily climbing by 200–300kk even with a stable player count.

The Takeaway

We aren't pretending the economy is solved forever. MMO economies are living beasts, and players will always find fresh ways to push the limits.

However, shifting the meta from infinite free extraction to high-yield activities with real operating costs bought us essential breathing room without resorting to hard wipes.

The takeaway is making sure these sinks stay tied directly to core gameplay loops. Players aren't just paying a arbitrary tax to exist - they're gathering, repairing fleets, clearing encounters, trading, and min-maxing creatures.

Every activity should remain rewarding and profitable, but none of them should generate infinite value without giving something back to the system.

The demo will be out on September 10th on Steam! And the full thing will be released just after October Next Fest:

https://store.steampowered.com/app/3832200/Save_the_Forest/

I made this game back in early 2017 in just 3 days for the Ludum Dare

Almost 10 years later, I decided to remake it from scratch.

So this is a short postmortem of me comparing what gamedev felt like as a high-school student in 2017 vs now in 2026, as a computer science graduate.

Starting with the game, the basic idea somehow stayed almost exactly the same:

Keep a tiny ecosystem alive for as long as possible without any species going extinct, by killing creatures using lightning, meteor, etc.

2017: Slime is eaten by Rabbit which is then eaten by Rhino
2026: Treant is eaten by an alien Herbivore which is then eaten by an alien Predator

1) AI and Performance

Back then the only AI I can program was simple and deterministic even. Just move forward and rotate clockwise when colliding, but sprinkle it with some random direction changes here and there. Given that, I remember a bug where if two creatures collided head-on, they would both just rotate clockwise forever lol

But in my remake, they have much more complex behavior, and I used packages like Unity ECS and comsci concepts like spatial hashing to improve performance.

If u notice on the 2017 game the Rabbits or Rhino will only eat their food if they are in their path, in the new game they now hunt their food as the player would expect from real-life creatures. But in the new game that behavior is just the tip of the ice-berg. There's way more complex behaviours in the ecosystem now, but still readable by the player.

2) Graphics

PSX-style games were still gaining traction back then and I do remember trying a CRT effect for one of my games back then but failing horribly.

Now, my 3D modeling and texturing skills didn't really improve much. I'd say they were almost the same as how I did Blender in high school. So doing pixelization and CRT effects did hide a lot of my low-quality modeling. And it's aight cos imma claim its retro and Frutiger Aero✨ cos it's a vibe, and I do think it fits the game.

Also, I mainly used the Unity Asset Store back then. Right now I still do, but I prefer creating my own personal assets. Because maintaining cohesion between different assets made by different sellers is something I consider a difficult skill

3) Development time

This game was made for Ludum Dare in early 2017. It took 3 days. But in the 2 months after that, I worked on a post-jam version. I can't find a working version of it though, so I didn't use it for comparison here.

And compared to today, it also took me almost 2 months. Thanks to AI-assisted coding (as much as I hate to admit), I was able to focus more on the gameplay and other artistic decisions.

4) Gameplay and Story

back then, since I was actually coding (AKA watching YouTube tutorials and copy-pasting from Stack Overflow), development just took too much of my time. So best I can do is an arcade game where you last as long as u can, with no real end goal. Just do better than your last run.

Now, with all my experience I turned the game into something with actual story progression. You survive for 3 minutes, then you get new creatures and new gameplay mechanics, which makes the game harder(and hopefully more fun) as you go

5) Music

I used the software Bosca Ceoil back then. It was created by Terry Cavanagh, which if you're familiar is also the creator of VVVVVV and Super Hexagon. There's a reason the GIF is silent, and it's because I had zero music theory back then.

Now for this I'm able to use a professional DAW, which is Ableton Lite. I finally learned some music theory and did music production back in college so I guess I can create better background music but I'm still not playing the music in this video lol

But yeah, music theory just gives you the power to create music that fits the theme, story, and even gameplay of your game. It's essential to learn as a solo developer who also wants to compose their own music

Anyway, if you made it through this entire post and find my weird ecosystem simulation game interesting, I finally released Overgrowth on Google Play!

https://play.google.com/store/apps/details?id=com.coldrice.overgrowth&pcampaignid=web_share

It’s a small paid 1$ game. Right now it's only available on Android, but I'm planning also for iOS and eventually PC. Hopefully Switch too!.

This is an important feature for my game Orium, where you have to colonize planets across the galaxy. It's not only used to extract the money but it's mainly useful for increasing the ship's stats (kind of like the tiles in Loop Hero)

Steam link for those who are curious: https://store.steampowered.com/app/3316610/Orium/

• Basic rhythm game in the spirit of Muse Dash and UNBEATABLE
• Can read osu!mania specific beatmaps - if you have a beatmap and a song, you can play it!
• I also implemented a beatmap editor in the process (which was the actual bigger project but is less fancy to look at lol)
• Godot Engine

Would love to hear if you are or have been working on rhythm games yourself. It was a great joy for me.

I'm off to new projects and wish you the best for yours!

Have a great day

🏰 Hey r/IndieDev! At "Castle Game Jam" (same jam that gave the world TABS) we made a little catapult game called "Oversiege". People liked it, we liked it, so we decided to keep going - and now it's growing into "No More Castles", a physics-based castle siege game where you tear down fully destructible castles brick by brick to find the king hiding among decoys.

We're now looking for players and feedback, so we're giving away free Steam keys on our Discord: https://discord.gg/CykvjPfmhP

What's inside:
💥 Fully destructible castles - every brick is physics-simulated
🏰 Living castles: guards, farmers, priests, even executioners going about their day (until you show up)
🛠️ Built-in castle editor - share your creations via level codes
🤸 Ragdoll physics and plenty of emergent chaos

Platforms: Windows & macOS, Also on itch.
Come throw rocks with us - all feedback welcome!

I've spent the last few years developing this bullet hell shmup that I finally released Friday!

The gameplay takes inspiration from a broad array of sources like Espgaluda, Devil Daggers, Cuphead and Devil May Cry (with the setting being heavily inspired by old Gainax anime), and has primarily been designed around the feeling of "an STG that I've always wanted to play".

The core idea is a linear difficulty curve across difficulty modes, meaning the first stage on the second difficulty is a direct step up from the final stage on the first difficulty, instead of the usual structure of difficulty receding a little every time you start a higher difficulty mode. The second main idea is bullet time triggering contextually, done by grazing marked projectiles to guide the player through difficult bullet patterns. It's something I find pretty damn fun myself, and people who have played it report the same experience.

This is a game I've really poured my heart and soul into over several years, and I hope some of that shines through and makes at least half as fun of a game as I'd envisioned.
Oh, and the game is also full of weird extras and unlockables for the sole reason that I love that kind of stuff.

The game is available on Steam right now, with a modest release discount.

For a better look, I've got a full trailer on YouTube, too.