![]() ![]() Let the player enjoy the game - if he enjoys the game he will be playing the game, and that's the time he wants to know the story. “It can be an epic story, but don't have it all at the beginning. ![]() “When a player starts playing, he wants to play the game,” he said. He also urged designers not to load up heavy story scenes in the front of a game. The story in a game is important less in and of itself and more as a way of letting the player know they're progressing through the game, Amaya said. He gave the example of a desert boss in Cave Story that actually moves very slowly, but the high-powered background music “tells the player the crisis is coming,” he noted. He encouraged indie developers to add as many sound effects as they can, to communicate these kinds of things to the player, because “the ears want just as much information as the eyes.”īackground music can have a powerful effect as well, appealing to a player's emotion and conveying the state of the game to the player very efficiently, Amaya said. Sound effects can help highlight elements of the animation and graphics, Amaya said, by adding a creak to a heavy door, for example. He suggested designers should play prototypes, rather than relying on flow charts, to figure out what elements of character interaction were the most fun and how enemies should react. Small touches can also increase the interactivity and liveliness of the enemies, Amaya said, pointing out the way an enemy critter opens his eyes as the main character approaches to show he's interested. ![]() “You don't have to give up just because resources are limited.” “It doesn't have to be extreme,” he said. The large, expressive head and small, highly animated arms were designed for similar reasons, he said.Īmaya noted that it takes only very small changes in the background environment, such as dripping water in a cave or grass clinging to a cliff, to strongly differentiate different levels in a game. The main character's red pants, black shirt and white face were all made so the character would stand out against different colored backgrounds. “I decided to adopt the retro style to complete it more easily.”Īmaya said he made the game's 16x16 sprites more expressive with a few tricks. “It's easy to start a game, but to complete a game is difficult,” he said. Rather the look developed partly because he was not skilled in the 3D modeling and animation necessary for most modern games. ![]() Cave Story is perfectly capable of being enjoyed in the current market.”Īmaya said the game's old school look wasn't totally a matter of paying homage to classic games, though. ”When the game was completed, and I thought only older gamers could enjoy this, but after this was released I realized many young ones seemed to enjoy it. “Maybe it made a mistake in coming to the world too late,” Amaya said of the game. In October 2015, Amaya updated Kero Blaster, under the name Kero Blaster ZANGYOU mode, featuring a new story, levels, and overall greater difficulty.Even though Daisuke “Pixel” Amaya's Cave Story looks like a much older game, he said in a GDC presentation today that the late 2004 release has found an audience even among younger gamers. This game was Amaya's first major work since the release of Cave Story. In May 2014, Amaya released Kero Blaster, a side-scrolling platform shooter game. Amaya was credited with the story concept for Nicklas Nygren's NightSky. The project was put on indefinite hiatus, and was likely canceled. Before working on Kero Blaster, he was working on a game titled "Rockfish", which was intended to be finished sometime in 2012. His current projects, if any, are unknown. Īmaya's other work includes the game Ikachan which he released in 2000, as well as many other low-profile games. The game received widespread praise from critics and in July 2006 appeared at the top of Super PLAY's list of the 50 best freeware games of all time. His most popular work, Cave Story, is a freeware PC platform game released in 2004 that was created entirely by himself over the period of five years. ![]()
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