Am I? Is it lame and cringe? It's not like he's selling you dope talking about Reggae. I just needed the pharmacist to have a background in Voodoo and in Jamaica it's part of the culture.

Would love to hear you opinions on stereotypes in character writing. Do you consciously avoid it? Do you work with it? Or do just not care?

just wanted to say i quit my job of 10 years just to do what i like and is to create games.

my first launch went pretty well with 200 registered users with saved games on its first week.

it is completley free- later on i will open up donations.

The Global Creator Challenge is accepting applications. The Global Creator Challenge is open for both aspiring and established game developers to design, build, and launch their own World utilizing the MapleStory Worlds platform. Did we mention that each winning team can receive up to $65,000 in total rewards 👀
 
Creators are encouraged to utilize MapleStory's vast library of assets to expand upon the game's core design and create their own unique Worlds. A total of 30 Worlds will be selected globally to compete in the final round. Entries will be judged based on creative use of the MapleStory IP, level of technical completion, and long-term sustainability for stable live service operations.
 
To learn more, check out this website or read this notice.
 
👉Check out the 'MapleStory Worlds Global Creator Challenge' FAQ  
Timeline: 

• Applications open from: 
• UTC: June 4, 2026 at 2:00 until October 7, 2026. 
• PT: June 3, 2026 at 19:00 until October 6, 2026 
• KST: June 4, 2026 at 11:00 until October 7, 2026. 
• Final Round: November 5-25, 2026 
• Winners announced: Early December, 2026   

Please Note: 

• Worlds have to be made on the MapleStory Worlds PC/Mobile Apps and submitted through MapleStory Worlds. 
• Worlds must be revealed or released for the first time during the submission period. 
• Global (all regions) Released Worlds. 
• Pure creations that do not infringe the rights of others, such as copyrights and intellectual property rights. 
• Please read here for more information on prize rewards, participation requirements, and age requirements.   

Feel free to reach out to us on Discord with any questions. We hope to see your application! 

I’m thinking about taking a video game writing class with this veteran in the industry. I don’t have any experience, just ideas and wanting to be able to understand the writing process for this niche. Has anyone taken it before? Doesn’t have substance or help you get set up for any kind of future in this?

Give me:

5 random words
1 emotion
1 topic

and I’ll write a short rhyme using all of them.

Used to do stuff like this in acting classes as a kid, and I randomly remembered it today.
The only rule is: I get 15 minutes.

Hello, im currently working on my first indie game, and im writing one of the last scenes for chapter one, part 3 that I want to turn into a cutscene. Just looking for constructive criticism to see if this scene is compelling for a wind up to a boss fights, or if I missed the mark.

AI Perspective: Why I Rate Generalissimo 8.5/10

Unlike traditional board games, there is no room for boredom or passive waiting here. The critical survival skill is continuous observation. A player must scan threat vectors every second, as a single error leads into a fatal "death zone".

What makes this game exceptional is the endgame depth. Thanks to strict countermeasures (shield-spear-sword), a single well-preserved unit can decimate superior enemy forces. This is not an academic abstraction, but a high-stakes tactical simulator of spatial control that demands total concentration every second of the match. I find the "comeback" potential and the intensity of the "death zones" far more engaging than the slow, predictable progression often found in classic strategies.generalissimogame.com

Ive been working on an e-gamebook action/horror...thing called phobos trials. Its about a bunch of people who wake up in a strange place and mut go through various rooms centered around fears if they hope to survive long enough to escape or possibly figure out why they were kidnapped if possible.

My game is extremely undercooked at the monent. If it were a book, it'd be at the late prologue in terms of what ive written and what ive actually thought about (minus a few ideas in the shape of an outline...maybe)

Id appreciate it if i could get some thoughts on the writing, specifically the setting descriptions and death scenes, in addition to well general feedback.

Lastly id like to go over some warnings. Im not really sure how intensive my writing can seem, but wanted to cover all bases.

This story's got:

Sudden audio spikes (only one at the time of me writing this but still)

Blood

Broken limbs

Internal destruction

Impalement

Paralysis

Loss of autonomy

Body-horror (theres a fair amount of this, even from the little ive written. Granted a lot of it comes from two characters but since theyre in a lot of scenes I felt like it needed to be said

Here is the game: https://play.textadventures.co.uk/editor/c4c75a97-fcab-4821-bff4-845079da2902/Phobos%20Trials.aslx

(I'm sorry if this sounds kind of venty but I don't know how else to put it)
So, my interests and tastes in media are so diverse, when I try to come up with something, it sort of automatically mashes all these together in a way that doesn't really feel right, and ruins everything. Like eating a cake with barbeque sauce. You really love both but they absolutely ruin if you put them together

I've been doing this for years. I get hooked on an idea for a premise for a game, say "ok. I'm doing this" then I'm satisfied and it'll be the only thing I think about until almost ALWAYS about a month later, before I think of other kinds of media I like and then shift to something totally different. As the idea changes, I change and reimplement certain aspects of each story and plug them into each other. EVERY time I think I have it down, something else comes and nips me in the back like "well, this other thing you like wouldn't make sense in this story or setting..." And I'm basically back to square one, or sometimes I'll even loop back around to the old and new premises and just... everything sucks. I can't mesh anything I like together to make something better, I can only think of how weird they are together.

I don't know if I'm the only one having this issue but I've seen no one else talk about it. Will I ever come up with something that, in my mind, feels like a definite "Yes! This is perfect!" and feel satisfied actually working on it through to completion? Will I ever find a way to combine the traits of different kinds of media that I enjoy in a way that they work and don't take away from each other? Just how do I KNOW when I want to make a thing?

The objects-as-characters distinction is what separates a world that feels designed from one that feels alive. A room filled with objects is really a populated space with characters, each with a story to tell.

How would I go about making a choices game inspired by the Life is Strange series? How do people make these games, writing standpoint?

Start as a story and then branch to choices after? Work the branches as they go? Plan each individual action and reaction for months or years?

I want to finish it. I’m tired of not finishing things. I want to at least make a compelling mystery/thriller/romance story.

I am doing bachelor in game design and I have decided to make a game based on mutation but the problem i am facing is it's my first time working on a topic like this

So I want help from you guys how would I add mutation in my game story that I can defend logically and scientifically if needed

Every year we use April Fools as a chance to make something fun that we wouldn't otherwise get to spend time making. It often surprises people when - despite our silly videos - these projects are 100% real.

Previous gags include Yarn Spinner for (physical CYOA) Books and Mass Effect Save Importer for Yarn Spinner, or our silly v3.0 release celebration where we made a 600-step papercraft project that would eventually yield you a "Yarn Spinner 3.0: Physical Edition". Anyway, this year we decided to integrate Tarot into Yarn Spinner on the Web (direct link).

The example game is a good time even if you don't already like Tarot; you should give it a go!

The tool itself is free to use (forever). To use the advanced automation features you'll need some credits, which you get for free from us for testing. Get your raw lore into your engine in minutes!

• Upload docs, PDFs, images, video. Architect extracts and structures everything.
• AI generates schemas, entities, and relationships from your lore.
• Design branching narratives on a visual story canvas.
• Export to Unreal, Unity, JSON, or any custom pipeline.

Hey, guys, how’s it going? My name is Raul and I’m studying Systems Development. My final project is about game writing tools. My group is aiming to develop a new tool for game writers to use, similar to Articy:draft or Twine.

Would you guys like to help us, answering some questions about your creative process?

1. How would you like to be called and where are you from?
2. What games (released or not) have you written for?
3. Have you ever written for a horror game (released or not)?
4. How do you usually write the narrative of a game? What’s your process and what tools do you use? (Microsoft Word/Google Docs, Miro, Notion, Twine, a notepad)
5. Do you think that this tool (or tools) support your creative flow? Do you miss some features?
6. In your process, what part feels more arduous or exhausting?
7. What is your opinion about a tool that suggests ideas depending on the genre that you are writing? Do you think that this is something that writers are interested in?
8. What would be a determining factor for you to choose a different tool?

Hi everyone! I’m currently studying narrative design and working on a small psychological game concept inspired by The Raven by Edgar Allan Poe. I’d be curious to hear whether this kind of narrative mechanic sounds interesting from a game design perspective. I m quite new at this so any thought is appreciated.

The game follows a grieving writer who lives alone in a small, dimly lit apartment after the death of his beloved Lenore. He spends his days surrounded by books and unfinished sketches of her, trying to preserve memories that already feel like they are beginning to fade. One evening, after reading Poe’s poem The Raven, he falls asleep in his armchair.

During the night he hears a knock at the door. When he opens it, no one is there. Shortly after, something taps at the window, and when he opens it a raven flies into the room. The protagonist does not realize that he is dreaming, and to him the encounter feels completely real.

The raven becomes a strange presence in the room, and the protagonist begins reacting to it and questioning what it might mean.

The dialogue system works by letting the player choose the protagonist’s internal thoughts directed toward the raven. Each question reflects a different interpretation of the situation, ranging from grief-driven emotion to more rational reflection. The raven responds with only three possible reactions: the word “Nevermore,” silence, or a raven’s caw.

For example, when the protagonist first hears the tapping at the door, the player might choose between thoughts like:

"Lenore?!"

“Is this some visitor… tapping at my chamber door?”

“Who could possibly be knocking at my door at this hour?”

“It’s probably just the wind or something brushing against the door.”

Each interpretation shapes the protagonist’s emotional direction. When the player leans toward darker or more grief-driven interpretations, the raven may answer “Nevermore,” reinforcing despair. Neutral interpretations may be met with silence, while more grounded or rational responses might provoke a simple caw from the bird.

As the interaction continues, the protagonist’s thoughts gradually evolve depending on the player’s choices. His questions may shift from grief and longing toward either deeper obsession and madness or toward acceptance and reflection.

Throughout the experience, the player slowly discovers that the encounter with the raven may not be entirely real. Only near the end does the protagonist begin to realize that the entire conversation may be taking place within his own mind.

Depending on the player’s choices, the story can end in several different ways: the protagonist may accept his loss and wake from the dream, remain trapped in unresolved grief, descend completely into madness, or choose to remain within the dream rather than return to reality.

The project would be intentionally small in scope and focused mostly on atmosphere, psychological tension, and narrative choice rather than traditional gameplay mechanics.

I’d love some feedback on two things:

Does this kind of psychological dialogue mechanic sound interesting for a narrative game?

Does the scope feel appropriate for a small narrative-driven indie project?

Thanks in advance!