Building Cursemark, One Cracked-Out Rune at a Time

Cursemark is a roguelike ARPG set in a hand-crafted world, where every run has you forging unique spells and slowly uncovering the layers of history buried in its landscapes. Built at Clyde Games and freshly signed with publisher Mad Mushroom, the project carries forward hard-won lessons from the studio’s previous title, Into the Necrovale. We talked about combat design, run variety, the rune-based melding system, and the National Parks road trip that shaped the game’s world for the latest entry in our SDC Spotlight series.

How would you describe Cursemark to new players discovering it for the first time?

It’s a strange brew. A roguelike in a hand-crafted world. In the game, you’re crafting unique spells each run and slowly exploring this world.

Cursemark recently announced its partnership with Mad Mushroom. Congratulations! Securing a publisher is a huge milestone for any indie project. How did your collaboration with Mad Mushroom begin, and what made them the right fit for the game?

Thanks! I actually reached out to another dev (the one making To Kill a God) to see if they’d want to bundle, since our games have some overlap. Their publisher, Mad Mushroom, was interested in our game too, so we got to talking. They seemed to really get what we were making, and they have some serious firepower they can bring to promoting the game. So it was a good fit.

Your previous title, Into the Necrovale, shares some DNA with Cursemark, both top-down pixel-art roguelikes with a combat focus. In what ways did developing Necrovale shape or influence Cursemark?

My explicit goal is to stay within a genre, explore that space, and evolve my ability to make that sort of game, which is roguelike/ARPG hybrids. I learned a lot of lessons during Necrovale that are coming to bear here, since that game had some fundamental problems I couldn’t fix. I have a much better understanding of resource economies now, and how to allow “broken builds” without letting the game become “solved.”

Was there any specific community or player feedback from Necrovale that directly informed new mechanics or design decisions in Cursemark?

Yeah. The coolest mechanic in Necrovale was “melding,” where you could fuse two (and eventually three) items together to make wholly new ones with properties from both. I took that concept even further here with the rune system. Now, on top of your base spells, you can socket in runes that confer new properties, so you’re essentially building new spells each run. It’s a cracked-out melding system.

The fantasy-meets-heavy-metal pixel art direction is very striking. What is your art workflow like at Clyde Games?

Honestly, I’m not a great artist. I think I have a good eye for creating atmosphere, but it’s my artists who are actually making something that looks amazing. I was quite lucky to team up with a couple of heavy hitters for Cursemark: Adam Ferguson and David Stuart.

What were some of the inspirations behind the enemies, weapons, and the protagonist’s look?

We started by discussing the lore and themes of the world, and tried to grow the types of magic, the protagonist’s look, and the enemies out of that. But we treat most lore as invisible, and try to let it manifest in second- and third-order ways instead of lore-dumping on the player. The goal is to make a world that feels very lived in, with layers and layers of history.

What were the core pillars you established early on for the combat system?

The core system I devised goes back to a problem I had in Necrovale, which is that projectile-spam builds nearly always dominated. All roads led to projectile spam. I realized that was because creating projectiles was free and easy, with no cost to it, while there’s a huge cost to melee because you’re risking your hide. So I made a system where you generate energy with melee attacks and then spend that energy on spells (usually ranged). That means you have to get into the thick of combat to charge your spells up.

Roguelikes can be difficult to balance, especially when combining randomness, progression, and player mastery. How do you approach difficulty tuning and run variety in Cursemark?

The core solution is in the design of the game itself. Anything that empowers you is a transient resource; you lose it when you die. The goal is for the player to have a transformational experience each run. They start out evenly matched with the enemies, and then begin an arms race with them. So when things go well, you can absolutely trash the enemies. My second method for balancing is fairly detailed gameplay analytics. That helps me find power outliers (in both directions) and see the results of any changes I make in an objective way.

Are there any new mechanics or systems in Cursemark that weren’t possible during Necrovale’s development due to time, tech, or experience?

On the theme of sticking with a genre and evolving my abilities, I was able to spend a lot of time improving the visual element of the game. I got into shaders and started learning them so I could give the game a higher level of polish. I was also able to significantly build out my internal tooling, which I see like compound interest. The more I invest in that sort of thing, the more I get back over the long term.

The game places heavy emphasis on curses, relics, and upgrades. How do you make sure each run feels different while still keeping the experience fair and skill-based?

It’s tough, and honestly I don’t feel I’ve perfected this yet. But the goal is to have such an insanely deep pool of Runes and Talismans, all interacting in fascinating ways, that people can spend a lot of time discovering the nuances of the system and what’s possible within it. And going back to design accommodating balance, ideally the game doesn’t need to be perfectly balanced. Break the game! That’s sort of the goal. But the overall design has to accommodate that breaking without breaking itself.

What’s one mechanic or feature you’re especially excited for players to discover once they get deeper into the game?

In Necrovale, players took the systems I built way farther than I ever imagined. They were making builds that released swarms of hornets, turning themselves into a V2 rocket and shooting around, getting their DPS into the trillions. I want similar things here. I’m trying to create a play space that’s vastly larger than the design space.

Many roguelikes lean heavily on systems over story. How do you strike the balance between strong gameplay and a compelling world?

In my opinion, melding story and gameplay was figured out decades ago by Myst. The formula is that 95% of the story has already occurred. In playing, you’re seeing environmental clues to reconstruct and understand what has happened. Then, when your understanding comes together, you are the X factor in completing the last 5% of the story. Dark Souls took this formula and used it perfectly. I want to do similar things here. The act of playing and witnessing the world is to relive the story of the world.

How long has Cursemark been in development so far, and how has the project evolved compared to your early prototypes?

About a year and a couple of months, I think. It took about six months of tinkering to find the right formula; I tried a huge number of different ideas. At first the game was about alchemy, and discovering secret properties of objects by combining them. Then it was a game where there was just a big infinite plane that you explore. Eventually I started leaning more toward an exploration element, because my heart was really drawn in that direction. I started thinking about Zelda 1, and how it achieved a great sense of exploration without amazing vistas or anything, just a great sense of possibilities and good design.

As a team, how do you divide responsibilities at Clyde Games? Is Cursemark a solo-heavy project or more of a team collaboration?

I do the core programming and design, and I kind of keep final say on things to try and keep everything coherent. But my artists really bring the visual direction, and a lot of great design ideas as well.

Now that you’re partnered with a publisher, how has it changed your day-to-day workflow or long-term planning?

It’s basically let me actually breathe and refocus on what I do. In making indie games, the “peripheral” tasks just keep building up more and more: marketing, communicating, organizing, and so on. With some funding and support, I can bring the actual design of the game back into focus. In the end, that’s the only thing that really matters: is the game fun or not.

Have you received any early feedback from playtests or closed demos? What surprised you the most about how players interacted with the game?

Yeah, I get tons of feedback. I built a feedback system into Necrovale that I use here as well. It’s a massive help for seeing what players are thinking and frustrated by. I’m always surprised by how in-depth players come to understand a game, and all the little quirks of its mechanics and world.

What does the current roadmap look like? Upcoming features, planned content, milestones, or things you’re especially excited to reveal later?

Now that I have the publisher deal, my current goal is to really get into the core combat experience and improve it. It’s not my strength (I like making crazy systems players can experiment with), so it deserves more time here. I’m pretty excited about that, though it’s not exactly very sexy.

What’s the best way for players to follow development, support the project, or get involved with Clyde Games’ community?

If it looks cool, wishlist it and follow it on Steam. I’ll keep everyone updated there. There’s a demo you can try now.

Before we wrap up, here’s the final question passed forward from the previous SDC Spotlight developer, The Wacy, developers of Beat, Heart, Beat: Has a real-life experience or piece of non-game media influenced or inspired your work in some significant way? If so, how do you think your design philosophy, aesthetics, etc. have changed as a result?

Awesome question. A few years ago I built out a camper van, and my wife and I traveled all across the US visiting the National Parks. The world design in Cursemark is very inspired by those beautiful places. For instance, the swamp is inspired by the Everglades. The Badlands are inspired by Death Valley (wait, why does the real place have a cooler name than my fantasy place?). The desert area is inspired by Zion National Park. An urge to share that sense of beauty with people in some form has really shaped this project.


Cursemark is on Steam now. You can play the demo, wishlist the game, and follow along for development updates straight from Clyde Games. Thanks to the team for taking the time to talk with us, and stay tuned for the next SDC Spotlight, where we’ll be passing this developer’s question forward to the next studio in the series.

SDC Spotlight: Coin Drop Games on The Remake of the End of the Greatest RPG of All Time

There are games with bold premises, and then there is The Remake of the End of the Greatest RPG of All Time. Developed by Coin Drop Games, a team of college students led by developer and director Lucas Immanuel, this deduction puzzle game drops players into the final hour of a fictional lost 90s JRPG, armed with a physical manual, director commentary, and fragments of an unreleased amateur documentary. The central question the game asks: What is the Greatest RPG of All Time?

With the game releasing today, we sat down with Lucas to talk about the project’s unusual origins, the challenges of building a mystery around a game that never existed, and what it’s like shipping something this ambitious right before graduation.


For anyone hearing about the game for the first time, how would you describe it?

“It’s a deduction puzzle game set in the last hour of a lost, nonexistent, 90s JRPG, where players must use the game’s manual, director’s commentary, clips of unreleased amateur documentary and more to answer the question at the core of it all: ‘What is the Greatest RPG of All Time?’ It’s a long sentence.”

So we have to ask about the title. Where did that magnificently absurd name come from?

The title was actually the starting point for the entire project. Lucas had just come off two RPGs that required major cuts before shipping, one of which never shipped at all. Both had planned epic finales that never got made.

“When I took a games capstone class at my university, and they said ‘don’t make a hundred-hour RPG,’ my first thought was ‘what if I did anyway?’ So, having this idea to make the ending I never got to, I figured the joke would be way funnier if I pretended it was everyone’s favorite RPG.”

The reference point was Tenacious D’s Tribute, and the logic followed quickly from there: if it was everyone’s favorite RPG, it obviously had to be from the 90s. But Lucas had been doing art in the HD-2D style and wanted an excuse to use it, which meant the game needed to be a remake of that fictional classic. The full title locked in over the course of about a minute. TGRPGoAT beat out TGRPGEM on both humor and syllable count.

The game revolves around a “lost, nonexistent 90s JRPG” complete with manuals, director commentary, and documentary footage. What drew you to that concept of gaming archaeology?

“In the English-speaking world, JRPGs are a perfect ground for mystery, especially pre-mainstream internet JRPGs. There’s this language barrier between us and these original creators, there’s often very few interviews or sources of information from them, and the more legendary the creator the more awash with rumor and speculation a game’s development is. There’s something inaccessible and unknowable about the arcane magics that create a JRPG.”

But the feeling Lucas was really chasing wasn’t the schoolyard rumor era specifically. He was too young for that firsthand. Instead, the game is built around the emulator generation experience: pressing your nose to old games like aquarium glass and wondering not what they contain, but what it would have felt like to be there on release day.

The game has a strong meta-narrative structure. What were your biggest influences?

The list runs wide. The core RPG aesthetic draws from Chrono Trigger, Dragon Quest 3, and the Octopath games, with heavy inspiration from the RPG Maker scene and offbeat modern RPGs like In Stars and Time. The multilayered, fourth-hand storytelling structure came directly from reading Pale Fire and House of Leaves, though Lucas is quick to note the tonal differences are significant.

The FMV and documentary elements pull from early YouTube devlog culture and Angry Video Game Nerd-style reviews, with some DNA from The Rehearsal, This Is Spinal Tap, and Nirvana the Band the Show. Puzzle design draws from Tunic, Fez, Animal Well, and Return of the Obra Dinn.

“And of course we must pay tribute to our meta videogame forefathers, The Beginner’s Guide and UFO 50.”

There was also a brief, not entirely unserious discussion about scheming to get Jack Black to let them use Tribute as the end credits song.

The archival materials are a huge part of the experience. How much went into building those?

The manual was the hardest piece. It serves four functions simultaneously: carrying puzzle information, telling the in-game story, telling the story of the people who previously owned it, and fitting authentically alongside the real history of JRPG manuals. The team read through physical manuals sourced from friends and mentors and combed through the Internet Archive.

“There’s a few things that don’t line up quite with the era, but I feel very happy that we got close.”

How do you approach puzzle design when players are working across a manual, commentary tracks, videos, and live gameplay simultaneously?

“It’s all about pacing. The game starts very slow with enemies that you can kill just by guessing and checking, then asks you to kill an enemy with a combo and gives you only one combo, then asks you to select from among a set of combos, then figure out how to make new combos, etc.”

The design philosophy was largely emergent. Lucas describes an approach similar to Lucas Pope’s “doll-house” method: build a scene, write a script, record a commentary node, then work backwards to find the puzzle inside it. The puzzles built this way often ended up more clever than the ones designed puzzle-first, because they felt naturalistic to the genre.

Playtesting drove everything from there. If players solved it, it worked. If they tore their hair out, the team tightened or added information. And occasionally, a playtester would come up with a solution that was better than the intended one, which then became a valid solution.

One puzzle, involving MSPaint-style pages and combat rules as math operations, was cut after a playtester’s reaction made the call for him.

The game blurs fiction and reality throughout. How do you manage that as a designer?

“It’s a little scary unleashing the full might of the internet’s investigative power onto a game that has my real name in it.”

Lucas draws a firm internal line between himself and the fictional version of himself within the game. He refers to that character in the third person even when their histories intersect, and has tried to keep the mysteries carefully contained within the software and curated online spaces.

Most of the team is still in college. What has that balance looked like?

“Yeah, I’m graduating two weeks after we ship.”

The answer is that it has been genuinely hard, and the team has leaned on friends and family to make it work. Lucas also credits the separation between school life and development with keeping him sane throughout.

What has been the hardest part of developing the game?

“Unity.”

What has surprised you most from conventions and playtests?

“That there was feedback. My last game had 5 reviews on Steam, and this one has been seen by millions of people, wishlisted by tens of thousands. Insanely grateful and lucky to have been a part of this.”

The game was also nominated for an award at BitSummit during development, which Lucas describes as “pretty wild.”

Are you excited to see players theorycrafting online once the game is out?

“I’m so scared.”

Any advice for other indie developers on getting their game seen?

“We’ve done a ton of festivals. I think your job as an indie dev is not to market your game to players but to market it to those who will market it. Unless you’re already popular you’re not convincing the world to buy your game, you’re convincing the guy with the megaphone to do it.”

The breakdown he offers: funny or interesting premise means apply to festivals, because juries will enjoy it. Frenetic and energetic means post on social media constantly and optimize for virality. Multiplayer means get on TikTok and push social clips so players drag their friends in.

And finally, what is the Greatest RPG Ever Made?

“That’s a spoiler.”


The Remake of the End of the Greatest RPG of All Time is available now on Steam. Follow Coin Drop Games on their Steam developer page, and follow Lucas Immanuel at @lucasimmanuel on Bluesky and @bsmproductionsHD on Twitter.

Capital Creative Showcase 2026 Celebrates Sacramento’s Game Dev Community With Its Biggest Year Yet

The Sacramento Developer Collective closed out Capital Creative Showcase 2026 with an awards ceremony celebrating the creativity, dedication, and talent behind the local game development scene. Hosted by SDC President Thomas Ruiz, the ceremony highlighted not just the award winners, but every developer, student, exhibitor, and attendee who helped make this year’s event special.

Before announcing the winners, Thomas took a moment to recognize how much work goes into making a game. Game development pulls together programming, animation, art, design, writing, sound, music, production, and countless hours of testing, problem-solving, and persistence. Every project on the show floor represented a major achievement, whether it walked away with an award or not.

That spirit is what Capital Creative Showcase is all about. The event gives Sacramento’s creators a place to share their work, connect with players, meet other developers, and celebrate the growing game development community in the region.

The first award of the night was Outstanding Student Project, recognizing the impressive work being done by young developers. After a strong showing from the student projects, Bear With Me took home the award.

Next up was the Exhibitor Choice Award, voted on by the developers and exhibitors at the event. Thomas noted that developers often see games through a unique lens, noticing systems, mechanics, and design choices that might stand out differently to fellow creators. The nominees were The Lost Frog, Blocks for Babies, and Giga Turtles, with Blocks for Babies winning the award.

The final award of the night was the People’s Choice Award, voted on by attendees. This category was especially competitive, showing just how much the crowd connected with the games on display. The nominees included My Wizard Doesn’t Feed Me So I Tarnish His Room, Now He’s Sending Buckets of Water on My Head, Cardboard Cowboy, and Goat Game. Goat Game took home the People’s Choice Award, earning the top audience honor of the night.

Thomas closed the ceremony by thanking everyone who helped make CCS 2026 possible, calling it the biggest and most successful Capital Creative Showcase in SDC’s ten-year history. For Sacramento’s game development community, the night was more than an awards ceremony. It was a reminder of how much creative work is happening locally, and how important it is to give developers a space to be seen, supported, and celebrated.

Capital Creative Showcase continues to grow as a home for Sacramento’s game creators, and CCS 2026 made one thing clear: this community has a lot to be proud of.

SDC x GDC Partnership

Sacramento Developer Collective x GDC: A Major Step Forward for Our Community

SDC is proud to announce an official partnership with the Game Developers Conference — and it’s going to directly benefit Sacramento developers.

For years, the Sacramento Developer Collective (SDC) has worked to create opportunities for indie developers, students, and small teams to learn, connect, and grow.
This partnership with GDC is a huge milestone — not just for SDC, but for the entire Sacramento game development community.

GDC is the premier professional gathering for game creators, and this collaboration gives our community a stronger presence on the show floor, more visibility with industry leaders,
and more meaningful pathways for local developers to share their work with the world.

Why This Partnership Matters

  • Visibility for Sacramento developers: More eyes on the incredible projects being built here in our region.
  • Real opportunities for teams: Showcasing, networking, and connecting with publishers, funders, and collaborators.
  • Community uplift: SDC exists to help developers succeed — this partnership amplifies that mission at the biggest industry stage.

SDC Will Have a Booth at GDC

As part of this partnership, SDC will have an official booth at GDC where we’ll be showcasing games currently being made in the Sacramento community.
Our goal is simple: help developers get discovered, help projects gain traction, and help talented teams connect with the people who can support them.

10 Sponsored Developer Will Be Coming To GDC

We’re excited to share that SDC will be sponsoring 10 developers to attend GDC and show off their games.
These sponsored passes are a direct investment into our community — helping teams who might not otherwise be able to attend take a major step forward.

We also want to recognize how incredibly generous GDC has been in making this partnership possible.
Their support isn’t just symbolic — it materially helps developers get access to the world’s most important industry gathering.
We’re grateful, and we’re committed to making the most of this opportunity for Sacramento creators.

SDC Community Discount Code (GDC)

In addition to the sponsored passes, we’re also providing an SDC community discount code for anyone planning to attend GDC.
If you’re considering going, this is a great way to reduce the cost and join us on-site.

CODE: SDC10

Where to use it: Apply the code during GDC registration checkout here: https://gdc.informafestivals.com/2026/registrations/Attendee?_mc=barter_gdcsf_gdcsf_le_x_partner_2026?

What’s Next

Over the coming weeks, we’ll be sharing more updates — including future blog posts highlighting members of our community who receive sponsored passes,
as well as the games we’ll be showcasing at the SDC booth.

This partnership is about uplifting developers — especially indie teams and emerging creators — by giving them real opportunities to be seen, supported, and celebrated.
We can’t wait to share what’s next.

Why GDC Is a Great Opportunity for Indie Devs and the SDC Community

Every year, the Game Developers Conference (GDC)is the place where the game industry gets unusually accessible. It’s a week where the people who build games, fund games, publish games, market games, and support development all show up ready to talk shop. For indie developers, that’s rare. For the Sacramento Developer Collective community, it’s even better because it’s close enough to feel doable, and big enough to genuinely change what your year looks like afterward.

GDC 2026 runs March 9–13 at Moscone Center in San Francisco, and it’s leaning hard into a “Festival of Gaming” approach that blends conference sessions with meetups, show floor discoveries, and nightly events that make it easier to actually meet people instead of just sitting in talks all day.

You Get Real Answers From People Who Have Shipped

Indie teams are always solving problems under pressure. Technical challenges, scope issues, marketing confusion, funding uncertainty, community building, hiring, production planning, you name it. GDC is useful because it puts practical knowledge in one place, across the whole lifecycle of making a game. The 2026 program is structured around 14 tracks, including independent development, design, narrative and performance, discovery and marketing, business strategy, production, and tools and tech topics.

It also includes “Summit Communities” that are meant to give you a home base during the week. If you’ve ever felt like your discipline gets lost in the shuffle at big conferences, these communities are designed to solve that. Independent Games is one, but there are also communities around things like UX, narrative, tools, game AI, level design, and more.

Networking Is Built In, Not Left to Luck

People joke about networking, but at GDC it’s not just “talk to strangers and hope it works out.” The event is intentionally structured around connection, with curated matchmaking, lounges, and meeting formats that make it easier to talk with purpose.

For SDC folks, this is where going together becomes a superpower. You can split up and cover more ground, compare notes at the end of the day, and introduce each other to people instead of doing everything solo. Even a small group makes the whole experience less intimidating and more productive.

The Festival Hall Is a Cheat Code for Getting Oriented

If you’re an indie dev, the show floor is not just for playing demos. It’s where you can see the ecosystem up close. Tools, services, platforms, partners, and communities are all represented, which makes it a great place to get clarity on what’s worth your time and money this year.

GDC is also calling out a dedicated Indie and Education neighborhood in the Festival Hall, with its own stage for microtalks, fireside chats, and community meetups. For newer studios, that kind of focused space matters. It makes it easier to find your people and easier to learn in smaller, more approachable formats.

The Independent Games Festival is part of what makes GDC feel indie-friendly. In 2026, the IGF Pavilion runs from March 11–13, and the IGF Awards happen on March 11. Even if you are not submitting a game this year, IGF brings a real spotlight to independent work and attracts attendees who are specifically there to discover new games and new teams.

It’s More Affordable Than Ever

GDC has always had a “big conference price tag” reputation, but the 2026 structure offers more entry points than people realize.

There’s a Festival Pass with an early rate price, and there are also application based passes that are clearly aimed at small teams and students. The Early Stage Indie and Start up Pass is designed for studios and self employed professionals that have been operating less than five years, and the Academic Pass is available for verified students and faculty. There’s also a Digital Pass for people who cannot make the trip but still want the content and some networking access through the event app.

On top of that, SDC members can take 10% off using our discount code SDC10, which helps take some of the sting out of pass pricing.

For SDC specifically, the group discount is also worth paying attention to. If you can get 10 people going, there’s a discount on current Festival or Game Changer pricing, which is the kind of thing a community can actually pull off.

Why This Matters for SDC, Specifically

A lot of communities talk about “building connections,” but SDC is already doing the hardest part. People are making things, sharing work, showing up, and helping each other improve. GDC is a multiplier on that energy because it plugs a local scene into the wider industry for a week.

It also fits the practical reality of Sacramento. You are not flying across the country; you are making a short trip to San Francisco, and you can come back with fresh relationships, clearer plans, and new ideas you can share with the rest of the community.

If you want this to have maximum impact, the move is simple. Go in with a plan, and come back with a debrief. Pick a few focus areas, decide what “success” looks like for your week, and then share what you learned with other SDC members afterward. That’s how a conference trip turns into a community upgrade.

A la Card: Food Truck Chaos Meets Deckbuilding Strategy

A la Card rolls up to Steam on December 11, 2025, bringing a food truck twist to the roguelike deckbuilder formula. It is a single-player card game from indie studio Shook Loose where you run a chaotic kitchen-on-wheels and stitch together absurd card synergies to survive waves of hungry customers and quirky bosses.

What is A la Card?

At its core, A la Card is a roguelike deckbuilder about running a food truck and bending the rules of your cards until they barely resemble what you started with. Every card is a dish, upgrade, or effect tied to your makeshift menu. Each run is a fresh route, with customers lining up at your serving window while you scramble to build a deck that can keep up with their appetites.

You will juggle ingredients, calories, and triggers while trying to keep the line moving. The tone is playful and a little chaotic, with a cute, hand-drawn presentation and a lighthearted take on cooking and card battles.

How a run plays out

A typical run sees you alternating between two main phases: cooking up your deck, and putting it to the test on the road.

In the prep phase, you load up your deck with ingredients and recipes, tweaking stats and effects to build the kind of menu that fits your playstyle. Once you hit the road, you start serving customers from the truck window, playing your cards in sequence to squeeze as much value out of your combos as possible before the shift ends.

The roguelike structure means you are chasing strong runs rather than permanent progression in the traditional RPG sense. You will lose, tweak your approach, and jump back in with new ideas for how your menu should work.

The hook: mutating your cards

The big hook in A la Card is how aggressively you can rewrite your cards.

Instead of simply adding stronger dishes to your deck, the game lets you stick one card’s effect onto another, change what triggers that effect, and swap around stats and “flavours” to build something that feels entirely custom. Over time, your deck stops looking like a standard starter list and becomes a strange, min-maxed monster of your own making.

Random events along your route give even more control. They let you adjust colors, calories, triggers, and other details mid run, turning every shift into a little design lab where you tinker with a few key cards until they become the backbone of your strategy.

Bosses as puzzles, not just stat checks

Serving regular customers is only part of the job. Each location has its own boss, and these bosses behave more like card puzzles than traditional health sponges.

They can hand you a specific card and refuse to leave until you serve it, or clog up your window with half-eaten scraps that force you to rethink your usual sequencing. The idea is that “big numbers” alone are not enough. You have to build a flexible deck that can adapt when a boss suddenly changes the rules on you.

Decks, trinkets, and long-term replay

A la Card is designed to be something you come back to for a lot of short runs. There are multiple starting decks, each tied to a unique trinket that shapes how that deck plays. As you win runs, you unlock more starting options, more trinkets, and more cards that fold into the overall pool for future attempts.

Ahead of release, the team has talked about shipping over 200 cards, more than 50 trinkets, and eight starter decks at launch, along with plans for regular post launch content drops. That gives the game a lot of room for experimentation and “I have never seen this combo before” moments.

With that many moving pieces, no two runs should look or feel the same, which is exactly what you want from a modern roguelike deckbuilder.

Who A la Card is for

If you enjoy games like Slay the Spire, Balatro, or other roguelike card battlers but want a lighter, more playful theme, A la Card looks like an easy recommendation. It leans into problem-solving and clever sequencing, rewards creativity, and adds a fresh layer of cooking and food-truck mechanics on top of familiar mechanics.

The presentation is cute and cartoony, composer Josh Whelchel handles the soundtrack, and the systems are built to support both casual “one more run before bed” sessions and more obsessive theorycrafting.

Release details

A la Card is developed and published by Shook Loose and launches on Steam for PC on December 11, 2025. It supports single player, Steam achievements, Steam Cloud, and other standard platform features.

If you like the idea of turning a simple burger into a ridiculous, rules-bending engine that carries an entire shift, this food truck is worth lining up for.

Links: https://store.steampowered.com/app/3180680/A_la_Card/

Turning A Launched Game Into A Lasting Hit

You hit publish, watched the first downloads roll in, and maybe celebrated a little. Then the numbers slowed down. That is the moment most teams realize something important. Launch day is not the finish line. It is the start of a new kind of work.

Post-launch marketing is about keeping your game discoverable, giving people reasons to care, and turning early players into a real community. You do not need a giant budget, but you do need a clear plan.

Below is a practical guide on how to market your game after it is already out in the wild.


Start with your storefront

Before you think about ads or influencers, make sure the places that actually sell your game are doing their job. That usually means your Steam page, console store listing, or mobile store page. Most players decide in a few seconds whether they are interested or not, so the basics need to be strong.

Look at your capsule art first. Ask yourself if a stranger could tell the genre just by glancing at it. The art should read clearly, even when it is tiny in a grid of other games. If it feels cluttered or generic, it might be worth commissioning a new main image or at least a tighter crop that shows your core fantasy more clearly.

Then review your trailer. A lot of launch trailers spend too much time on logos, story setups, or slow pans. For the store page, you usually want something that shows actual gameplay within the first few seconds. Think of it as proof that your screenshots are real. Trim anything that does not quickly show what it feels like to play.

Screenshots are next. Make sure they show real, exciting moments from the game rather than menus and empty rooms. Include shots that show your core loop, combat or tension if you have it, and some sense of variety so players understand the experience is not one note.

Finally, clean up your store text and tags. Use clear language that explains what the player does, how long the game is, and what makes it special. Avoid vague marketing phrases. Imagine the search terms your ideal player might use and make sure those ideas appear naturally in your description and tags.

A stronger storefront means every person you send to that page is more likely to buy, which makes all of your other marketing work more effective.


Treat the game as a living thing

A lot of players hesitate to buy a new game because they worry it will be abandoned. Even a small update plan can change that perception. You do not need a giant public roadmap, but you should have a simple answer to one question. Why should someone come back next week or next month?

Focus on a few lightweight commitments you can keep. That might mean regular bug fixing and performance patches, a steady trickle of quality of life improvements, and occasional content drops that feel meaningful, even if they are modest in size. You can also experiment with small events, like time-limited modes or community challenges, that give people a reason to log back in now instead of “someday.”

The key is consistency. Players would rather see one small update every few weeks than promises of huge expansions that never arrive. Under promise and over-deliver whenever you can.


Build a real community, not just an audience

Once the game is out, your community becomes the heart of your marketing. People are far more likely to try a game if they see other players talking about it, sharing clips, or recommending it directly.

Pick one or two primary homes for your community and commit to actually showing up there. For many indie teams, that means a Discord server and the Steam discussion boards. It can also include a Reddit community or a channel in a larger server if that is where your genre already lives.

In those spaces, be present and human. Reply to questions, thank people for feedback, and be honest about what you can and cannot do. Share work-in-progress images, early patch notes, or design thoughts so players can see that the game is evolving.

Make it easy for players to be visible too. Highlight fan art, cool builds, speedruns, or funny clips. A simple “community spotlight” post each week can go a long way. When players feel seen, they are more likely to stick around and bring their friends.


Work with creators as partners

Content creators, streamers, podcasters, and YouTubers are often more important than traditional press, especially for certain genres. The challenge is that they get buried in generic “please cover my game” emails. Your goal is to be the opposite of that.

Create a simple press or creator kit that lives online. It should include a short pitch in plain, direct language, a few strong screenshots and logos, and a link to your best trailer or some raw gameplay clips. Having everything in one clean place makes it much easier for a busy creator to say yes.

When you reach out, start with mid-sized creators who already enjoy games like yours. Watch some of their content first so you understand their style. Then send a short, personal message explaining why your game fits their channel and offer them a key, early access to an update, or something that genuinely helps them make an interesting video.

If a creator actually likes your game, stay in touch. Share upcoming features, ask what their audience reacted to, and consider inviting them to try betas or special builds. Long-term relationships with a few creators are more valuable than one big spike you never repeat.


Go where discovery really happens

Players do not just learn about games from big websites anymore. A lot of discovery happens in short-form video feeds, Discord communities, and through friends. That is good news, because you do not need permission from a gatekeeper to reach people there.

One of the easiest things you can do is start posting short clips regularly. Capture interesting moments: a satisfying combo, a clever puzzle solution, a wild bug, or a funny failure. Edit the clip so the interesting part happens immediately, add very light context if it needs it, and post it to places like TikTok, YouTube Shorts, and Instagram Reels. Imperfect but frequency is better than polished but rare.

If you are comfortable on camera, consider simple devlog videos. After launch, talk through what changed in the latest patch, why you made certain choices, and what you are considering next. Players like to see the human being behind the game they bought.

Do not forget about events. Even post-launch, digital festivals and physical shows can give your game a second wind. A new demo for an update, a fresh trailer in an online showcase, or showing at a local convention can introduce you to players who missed your original launch entirely.


Use discounts and bundles with intent

Price changes are not just a financial decision. They are a marketing tool.

You generally want to avoid deep discounts too quickly, or you will train your potential audience to wait. Instead, tie discounts to something that feels like news. For example, run a sale when you ship a substantial update, celebrate an anniversary, or participate in a platform-wide event. That gives you a clear story to tell.

Bundles are another way to reach new players. If you know other developers who make games with a similar audience, consider teaming up for a themed bundle. Players who buy for one title might discover the others in the pack. This can be especially powerful on PC storefronts that support flexible bundling.

On mobile, “discounts” often take the form of in-app promotions rather than price cuts on the app itself. The idea is similar. Create short windows where the perceived value is higher, communicate those windows clearly, and avoid making discounts so constant that your full price stops feeling real.


Let data guide your next move

It is easy to get emotionally attached to particular marketing ideas. Maybe you love a trailer cut that underperforms, or you are sure a certain feature will bring people back but the numbers disagree. Data helps you move past that and focus on what actually works.

Set a simple habit of checking your key metrics once a week. Look at store page traffic and how many visitors convert into buyers. Watch how wishlists are changing and how many of them turn into purchases during launches or sales. Track daily active players, returning players, and basic retention for games that rely on ongoing engagement.

When you post a new trailer, run a community event, or push a big update, watch what happens in the numbers. If a particular type of post, video, or patch consistently leads to small bumps in traffic and sales, lean into that pattern. If something falls flat, treat it as an experiment and try a different angle next time.


A simple 30-day post-launch plan

If all of this feels overwhelming, break it into a month of focused effort with a few clear priorities each week.

In the first week, polish your storefront. Update capsule art if it needs it, replace or trim your store trailer to focus on gameplay, and rewrite your description so it is clear and direct. At the same time, set up or tidy your main community hub, whether that is Discord, Steam discussions, or somewhere else.

In the second week, communicate clearly about the future. Post a short message that explains what is coming next for the game, even if it is a small list. Ship at least one patch that improves stability or quality of life, and share what changed. Start posting a few short gameplay clips on your main social platform to remind people the game exists and show it in motion.

In the third week, focus on relationships. Reach out to a list of mid-sized creators who play similar games, using your creator kit and personal messages. Host a small community event or Q and A, maybe a developer play session or a live stream where you talk through a patch. Collect feedback from players and decide on a small set of changes you can realistically make in the near future.

In the fourth week, act on what you learned. Ship another update that incorporates some of the feedback you gathered. Announce a limited-time discount or in-game event that ties into that update, so there is a clear reason for new and returning players to jump in. Share the highlights of the patch, the best community clips, and any creator coverage you received across your channels.

At the end of those 30 days, step back and look at the whole picture. Check your data, listen to your community, and be honest about what you enjoyed and what felt like a grind. Keep the habits that moved the needle and felt sustainable, drop the ones that did not, and plan your next month around that.

You do not need to be everywhere or master every tactic. Post-launch marketing is about steady, human effort that keeps your game visible, keeps your players engaged, and keeps you learning as you go.

Getting Started With Unity

A friendly guide for your first game

Unity can feel huge when you first open it. Windows everywhere, new terms, and about ten different ways to do anything. The good news is you do not need to learn everything at once. If you can install Unity, move a little cube around, and hit Play without fear, you are already on the right path.

This guide is written for first-time devs, students, and hobbyists who want to make their first small game with Unity.


Why Unity is a solid first engine

Unity is popular for a few simple reasons:

  • It runs on most decent laptops and desktops.
  • You can build both 2D and 3D games.
  • Most tutorials you find online assume zero experience.

You will write code in C#, but you do not need to be a “real programmer” before you start. Unity is a great place to learn programming by doing.


Step 1: Install Unity the right way

Unity is managed through a small app called Unity Hub. The Hub handles versions, projects, and add-ons.

When you install:

  1. Install Unity Hub.
  2. Inside the Hub, add a Unity Editor version. Look for a recent “LTS” version. LTS means “long-term support” and is usually the safest choice for beginners.
  3. When you add the editor, select at least one build target, like Windows or Mac. You can add more later if you want to ship to consoles or mobile.

Once the editor is installed, you are ready to make a project.


Step 2: Create your first project

In Unity Hub:

  1. Click “New project.”
  2. Pick a template. For your very first game, a 2D or simple 3D template is enough.
  3. Name your project and choose a folder where it will live. Avoid syncing it directly with cloud services at first, since that can cause build issues.

When Unity opens, it will generate a starter Scene for you.


Step 3: Learn the core pieces of the editor

Unity looks busy, but most of your day will revolve around a few key areas.

  • Scene view
    This is where you place and move things in your game world. Think of it as your level editor.
  • Game view
    This is what the player actually sees when the game runs.
  • Hierarchy
    A list of every object in your current Scene. If the Scene is your stage, the Hierarchy is the cast list.
  • Inspector
    This shows the details for whatever you have selected. Position, rotation, scripts, sprites, audio, and more all live here.
  • Project window
    This is your file browser inside Unity. All your assets, scripts, and Scenes appear here.

The most important concept in Unity is this:

Everything in your game world is a GameObject, and it is built out of Components.

A GameObject is just a container. Components give it behavior and data. For example:

  • A Transform component tells Unity where the object is.
  • A Sprite Renderer component tells Unity what it looks like.
  • A Script component tells Unity how it behaves.

Once that clicks, the editor starts to feel less mysterious.


Step 4: Make something move with your first script

Let us give you a tiny win: move a cube around with the keyboard.

  1. In the Hierarchy, right-click and create a Cube (in a 3D project) or a simple Sprite (in 2D).
  2. Select the object and rename it to “Player.”
  3. In the Project window, create a new C# Script called PlayerController.
  4. Drag the PlayerController script from the Project window onto the Player object in the Hierarchy. This attaches it as a Component.
  5. Double-click the script to open it in your code editor.

Replace the contents with this:

using UnityEngine;

public class PlayerController : MonoBehaviour
{
public float moveSpeed = 5f;

void Update()
{
    float moveX = Input.GetAxis("Horizontal");
    float moveZ = Input.GetAxis("Vertical");

    Vector3 moveDirection = new Vector3(moveX, 0f, moveZ);
    transform.Translate(moveDirection * moveSpeed * Time.deltaTime, Space.World);
}

}

What this does:

  • moveSpeed controls how fast the object moves. You can tweak this in the Inspector while the game is not running.
  • Input.GetAxis("Horizontal") listens for A/D keys or left/right arrows.
  • Input.GetAxis("Vertical") listens for W/S or up/down arrows.
  • transform.Translate actually moves the object in world space.

Hit Play at the top of the editor, and you should be able to move your Player around.

If it does not work, that is normal. Check:

  • Is the script attached to the Player object in the Hierarchy?
  • Did you name the class and file PlayerController exactly the same.
  • Are there any red error messages in the Console window at the bottom?

Debugging is part of the learning process. You’re now doing real game development.


Step 5: Experiment without fear

A healthy Unity habit is to experiment in small steps and keep your wins.

A few ideas:

  • Duplicate your Scene before trying something wild. Right-click the Scene in the Project window and hit Duplicate. Now you have a safe copy.
  • Play with values in the Inspector. Change moveSpeed, the scale of the object and camera position to see how each one affects the game.
  • Use Play mode as a sandbox. When you hit Play, you can adjust values and see instant results. Just remember, changes made while playing do not save after you stop, so keep notes on values you like.

The more you poke around, the less intimidating the editor feels.


Step 6: Make a tiny game, not a giant one

Almost everyone starts with “I want to build an open world RPG” and then gets crushed by the scope. For your first Unity project, keep it small on purpose.

Good first game ideas:

  • A simple endless runner where you avoid obstacles.
  • A top down game where you move a character and collect coins.
  • A basic platformer with one or two levels.

Focus on finishing something that feels complete, even if it is short.

You will learn far more from one tiny finished game than from ten half complete “dream projects.”


Step 7: What to learn next

Once you have moved a cube and made a tiny prototype, here are good next topics to explore:

  • Prefabs, so you can reuse objects without rebuilding them every time.
  • Collisions and physics, to detect hits and movement.
  • UI basics, such as score counters and health bars.
  • Scenes and simple menus, so you can restart or go back to a title screen.

And if you are in a community like SDC, bring your early builds to meetups or jams. You will get feedback, encouragement, and probably a few bug reports you never would have found alone.

Tearing a Path to the Withered Heart: A Deep Dive into Beat Heart Beat’s Rhythm-Combat

Ever wondered what goes into making a rhythm game that breaks the mold? We sat down with the developer of Beat Heart Beat, the upcoming absurd rhythm-platformer that challenges you to slash your way towards your withered Heart. This game immediately stands out with its bold, collage-like visuals and a distinct alt-rock soundtrack, steering clear of the genre’s usual electronic dominance. In this interview, the developer dives into the surprising inspirations behind the game—from the frenetic action of Katana Zero and the flow of Rayman Legends to the unique aesthetics of shows like Madoka Magica —and reveals how they tackled the challenges of merging rhythm with physics-based action. They also share the development journey, the crucial impact of playtesting, and the exciting roadmap leading up to the Early Access release in early 2026.


Describe Beat Heart Beat in one sentence for someone who’s never heard of it.

Beat, Heart, Beat is an absurd rhythm-platformer about tearing a path towards your withered Heart.

One of the first things I noticed about Beat Heart Beat is its striking visuals—the mix of 3D and 2D elements, the expressive character designs, and the collage-like aesthetics are all incredibly bold. It vaguely reminds me of the work of Yugo Limbo. What were some of your inspirations for the art direction?

I’m incredibly humbled by the Yugo Limbo comparison; I’m certain they’ve subconsciously affected my direction—especially their character design! I’ve always been drawn to mixed media for its capability to highlight uncanniness and dissonance as something beautiful and appealing in its own right. The work of Sodikken, Joel Guerra, and Felix Colgrave comes to mind as the biggest inspirations, as well as Madoka Magica‘s witch scenes, Coraline, and the HBO show Crashbox.

On a related note, what does the workflow or production pipeline look like for art creation in Beat Heart Beat?

As for the pipeline, I’ll be fully transparent and say that I am NOT an artist in any formal capacity, so production usually consists of a cycle of concept, iterate, rough asset, iterate, until we have something that we all like. My art direction could be described as “vibes-based,” or in other words, “a disaster”, so I’m very thankful my artists Benji, Annalivia, Annie, and both Andrew(s) can transform the junk in my brain into what you see on the screen.


Musical Inspirations & Production

Another standout element of Beat Heart Beat is its soundtrack. The rhythm game genre is often dominated by electronic music, but The Wacy took a distinct alt-rock approach. What inspired this musical direction? And building on that, how is the music in Beat Heart Beat produced? Is it commissioned, licensed, or created in-house?

It’s a little embarrassing but fun background, but during quarantine and being pretty miserable for several reasons, I found myself listening to a lot of super sappy alt-rock, grunge, and Midwest emo. Those genres continued to stick with me long after, and arguably led to the creation of Beat, Heart, Beat. In general, I also felt as though there were so many underrepresented genres in rhythm games, and I wanted to showcase something new. As for references, Glass Beach, Bedroom, Surf Curse, and Car Seat Headrest come to mind.

As far as sound production, our lead composer Sophie quite literally does it all—SFX, in-house composition, and pulling from her own personal albums. A lot of our guest artists were gracious enough to permit us to use their tracks, and a few friends have composed specifically for us.

Haha, that’s awesome! I am a huge Surf Curse fan, saw them in Reno a few years back, was a great concert! I got to say, I’m really looking forward to the soundtrack. When I first heard the main trailer, I was immediately hooked, and the song in it, “Did it Hurt When You Fell From Heaven?” was in my playlist for a while after!

When settling on the game’s visual and audio aesthetic, were there any alternate styles or directions you experimented with but ultimately moved away from?

Finding a balance between a maximalist, multimedia visual style and a legible gameplay scene is very tough and has required lots of iteration. We’ve leaned very hard into collage at times, and very hard into line art in earlier drafts. You could even say we’re still trying to strike a balance! Luckily, the style and tone of BHB were nailed down quite early, so it was less about what it would look like and more about how far we could push each aesthetic.

As I mentioned before, the audio aesthetic predates the game itself in many ways, so the direction was pretty clear to us from the start. I’d say the biggest change is actually that, over time, I opened myself up to other genres being in the game. I originally wanted an entirely grunge soundtrack, but we have some bonus tracks like Sivee’s “Loser Girl” and Allen Cai’s “See the Sun” that explore different genres like electronic and pop!


Core Mechanics & Design

The demo lets players chain attacks together, soaring through enemies and building momentum to the beat. How did you land on that as the game’s core mechanic?

It’s actually a pretty wild story. The first doc written for BHB dates back to February 2021, two years before it actually began development! At the time, the game was a pure platformer where, every beat of the song, a Heart would drop obstacles onto you, and you’d try to chase it. I shelved the idea as I finished up college, but I distinctly remember flying home for the holidays one time, listening to a pre-downloaded Spotify playlist, and reimagining a little guy platforming through a level and just slashing through enemies with crazy air combos to the music. I could see it vividly enough to the point where I wrote a preliminary doc on my notes app that I would then propose to my co-lead after graduation. The mechanics themselves were deeply inspired by Rayman Legends’ music levels, the combat of Muse Dash and UNBEATABLE, and the call-and-response mechanics in Rhythm Heaven.

I noticed that Rayman Legends’ influence when I played the demo. There is a sense of speed, responsiveness, and enemy placements that’s very reminiscent of it. How do you design enemy encounters, level layouts, and movement systems to keep that sense of rhythm and flow alive rather than breaking it?

Through blood, sweat, and playtesting. I mean, in all honesty, it’s largely thanks to my co-lead, Andrew, for developing a preliminary version of the in-game level editor within the first month of development. Which is nuts to do, by the way. Most of my ideas wouldn’t have come to life without his help, so I’m especially lucky for his contributions.

After that, I remember taking whatever songs I was listening to at the time, dropping them into the game, and charting tons of “fan levels,” I guess you could call them. I was a bit indulgent in how many I made, but it let me test the high-end potential of difficulty, discover my own charting principles, and let me tweak a lot of physics values to make it feel right. For charting specifically, I’ve found that pattern repetition and variations are your best friend, and a lot of the time it’s more important to find the “feeling” of the chart than making it as objectively accurate as possible. I will also note: a lot of my early charts were HOT garbage. I don’t have a charting background, so most of it was lots of practice and playtesting from family members and friends of different skill levels. Thanks, Mom!

Were there any surprising influences—musical, cinematic, or mechanical—that shaped how you approached those systems?

I think the most surprising influence that comes to mind is probably Katana Zero. I really wanted to capture that visceral feeling of seeing a group of enemies, forming a plan, and just executing something crazy. My favorite rhythm games are ones that incorporate context and character into their mechanics, where it feels like you’re actually interacting with the game world and not just clearing notes on the screen, like in Hi-Fi Rush or Patapon. While those games hybridize 3D action-platformers and RTS, respectively, I suppose the subconscious pitch of BHB was a personal take on seamlessly combining Devolver Digital-style action with rhythm.

When developing the rhythm-combat mechanics, were there any prototypes or ideas you loved conceptually but found just didn’t work in practice?

I originally really wanted the up and down slashes to be momentum-based, where instead of traveling to the note, you follow through it. This would’ve added more interesting physics gameplay, but it was unbelievably annoying for sightreading since there was so much variation in where Peccori would travel when slashing. While it wasn’t the right fit, the pogo and launcher enemies are a few spiritual successors to the idea that try to add a bit of physics-based movement. Oh, there’s also the Dasher enemy. We recently showcased the Tinktonk enemy, which is an improvement on the idea, but there is an evil, unused enemy lurking in our project files. Maybe one day I’ll throw a rogue one into a chart, who’s going to stop me?


Development, Tech, and Roadmap

For players looking ahead to the full release, what new mechanics, boss fights, or musical moments are you most excited for them to experience?

I’m very, very excited to see people react to the Story Mode. We’re planning on introducing new mechanics, enemies, characters, and a ton of weird nonsense that we think players will love. I think I’m most excited to see how people react to the party members that help Peccori along the way and how they might affect gameplay. Perhaps you’ll be able to meet them pretty soon!

How long has Beat Heart Beat been in development, and how has your vision evolved from the early prototypes to what players see today?

We started development in late 2023 and just released our second demo as of September 2025! I think the biggest change between the early game and now is the physics. Peccori used to have this REALLY awkward jump that stalled it in the air by default at a fixed height, and it wasn’t doing the platforming part of our rhythm-platformer any favors. Another major addition is slopes, where our levels used to be tile-based and completely flat. We really want to obfuscate that what you’re playing through is a “chart” and add more natural height and movement, and we have plans to push that even further in the future.

Has player feedback from demos or playtests led to any major design changes or surprising insights?

Yes! Player feedback is just about the most helpful thing out there. I think one underlooked thing that meant a lot was hearing about ways we could improve accessibility, especially since our game is visually, sonically, and technically pretty intensive at times. We just did a massive bugfix patch using the Discord bugs list as a basis, too—if you voluntarily report bugs as a player, you are my hero.

Some of my favorite player insights come from in-person tests, too. It always feels oddly affirming when people really clock my inspirations, like the Heart and Peccori’s rapport resembling the King of All Cosmos and The Prince from Katamari Damacy, or asking us if we’ve heard Glass Beach or seen Madoka Magica or something. When someone compares your work to something that you, as a creator, deeply respect, it feels especially rewarding.

From a technical standpoint, what does your development pipeline look like? What tools, engines, or plugins do you rely on most to bring your ideas to life?

We develop in Unity with GitHub for source control and FMOD, an audio middleware that allows us to sync music and do some fun dynamic music/SFX stuff. Andrew works on the backend, like the level editor, cutscene system, etc., and I do technical frontend design, like enemy implementation, creating environments and levels, and other random bits of scripting. I am the de facto producer on this project (and de facto many other things), which has been a great learning experience, but our pipeline is pretty informal and changes based on our needs for an upcoming milestone. I use Figjam, Evernote, and Milanote for my documentation and production, which I really enjoy, but I think my teammates are going to kill me if they have to create another account.

What’s the roadmap moving forward—upcoming features, release goals, or new levels and tracks you’re excited about?

I am super excited to announce that Beat, Heart, Beat will be entering Early Access in early 2026, featuring a user-level editor and the next chapter of the Story Mode. Expect new songs, backgrounds, enemies, characters, and more!!

Our penultimate question comes from the Born in Reverie developer, Axial Escape. They asked: What is your favorite part of developing your project, and what aspect do you most dread having to work on?

I think I’ll start with what I dread to not end on a bummer. I think marketing and project management can be really stressful at times, and it’s one of those things you don’t really even think about when you’re going into indie development. If I had to pick something from specifically the development process, I think I personally struggle knowing when to refactor old code or redo a level environment or something—basically anything that pokes at my perfectionism and OCD.

My favorite part of development has to be the process of crafting mechanics that recontextualize gameplay, like new enemy types or hazards. I think that’s my favorite part of design in general: once the framework is there, you can twist and push different parts of the design in ways you hadn’t originally anticipated. Outside of design, I’ve had a surprising amount of fun with creative writing for the Story Mode and designing modular systems on the programming end. There’s something satisfying about finally seeing the moving parts of a script click nicely, which is something that I could attribute to writing or programming!

What would you like to ask the next SDC Game Spotlight recipient?

Has a real-life experience or piece of non-game media influenced or inspired your work in some significant way? If so, how do you think your design philosophy, aesthetics, etc., have changed as a result?

Finally, how can players follow your progress, support the game, or get involved in the Beat Heart Beat community?

Beat, Heart, Beat has a demo on Steam that you can play and wishlist RIGHT NOW!! Sharing the game in general is so, so helpful and very much appreciated. If you want to chat about the game or give feedback, you can check out our Discord as well!

Here’s all of our links: https://linktr.ee/beatheartbeatgame

Thanks so much! Nik


From physics tweaks to story design, this conversation provided a fantastic look at the passion and iteration driving Beat Heart Beat‘s development. We learned about the happy accident that led to its core air-combo mechanic, the importance of finding the “feeling” over objective accuracy when charting levels, and the ongoing evolution of the game’s visuals. As the team finalizes the Story Mode and prepares to launch into Early Access in early 2026, players can look forward to new content, party members, and a user-level editor. If you’re excited to see this unique blend of action and rhythm come to life, be sure to check out the demo on Steam and connect with the community via their Discord to share your feedback.

Top 5 Cozy Games To Play On Thanksgiving Weekend

Thanksgiving is the perfect excuse to slow down, grab a blanket, and play something low-stress while the leftovers cool. Cozy games are ideal here. They are gentle, colorful, and built around simple goals like tending crops, decorating a home, or caring for characters instead of chasing high scores or sweating through ranked matches.

The best cozy games for Thanksgiving work in short bursts between family moments, but can also quietly turn into “whoops, we just played for three hours.” They are also easy to share, whether that means couch co op, passing the controller, or just watching someone else build the cutest farm on the planet.

Here are five cozy games that fit the Thanksgiving mood and are great picks for Nintendo Switch, PC, PlayStation, and Xbox.


1. Stardew Valley

If you only pick one cozy game for Thanksgiving, it should probably be Stardew Valley. You inherit a rundown farm in a small town and rebuild it at your own pace. You plant crops, raise animals, go fishing, mine in the nearby caves, and slowly get to know the villagers.

The magic of Stardew Valley is how flexible it feels. Want to zone out on the couch after dinner while you water crops and pet chickens? It works. Want everyone to play together? Local co op and split screen let multiple players share the same farm and divide chores, which is perfect for siblings, partners, or cousins who all want in.

It also hits that Thanksgiving vibe in a subtle way. You cook with ingredients you grow, share gifts with your neighbors, and watch the town change with the seasons. It feels like spending time in a tiny holiday town where nothing too bad ever happens and everyone remembers your birthday.

Best for: Families or friend groups who want a low pressure co op game that can fill the whole weekend.


2. Animal Crossing: New Horizons

Animal Crossing: New Horizons is comfort food in game form. You move to a quiet island, set up a tent, and slowly turn that island into a small, personalized paradise. There is no real “win” state. You decorate, collect furniture, catch bugs and fish, and chat with your animal neighbors.

New Horizons is especially cozy on Thanksgiving because of how gently it moves. The game runs in real time, so your island has its own soft little version of autumn. It is easy to hand the controller to someone who does not play games much and let them pick fruit, talk to villagers, or rearrange furniture.

If you have multiple people with their own islands, visiting each other is a great couch activity. One person plays, everyone else shouts opinions on where to put the next pumpkin patch. It is a chill way to hang out when everyone is full and half asleep.

Best for: Mixed age groups and anyone who wants something gentle and zero stress.


3. Disney Dreamlight Valley

If your household includes Disney fans, Disney Dreamlight Valley is a very easy win. It is a life sim and adventure game where you live in a shared valley with classic Disney and Pixar characters. You cook with Remy, fish with Goofy, go on quests with Moana, decorate your house, and help restore the valley after a mysterious event called the Forgetting.

Compared to Animal Crossing, Dreamlight Valley puts more emphasis on character quests and storylines. There is always another mission to help a familiar character, another area to unlock, or a new seasonal event to check out. That makes it a nice “let’s keep this running in the background all weekend” type of game, because you can always hop in for one more quest before dessert.

It is also very watchable. Younger kids can run around and talk to favorite characters while adults help with tougher tasks or steer the story. The result feels like an interactive Disney special running quietly in your living room.

Best for: Disney and Pixar families who want cozy vibes plus story and familiar faces.


4. Fae Farm

Fae Farm is what you get if you blend cozy farming with fairy tale fantasy. You move to the enchanted island of Azoria and build up a homestead, but you also use magic, craft potions, and explore dungeons filled with whimsical creatures. The game is built as a farm sim RPG for one to four players, which means co op is a core feature rather than a tacked on extra.

This is a great Thanksgiving choice if you like the idea of Stardew Valley but want more spells and exploration. Everyone can take a role. One person farms and decorates, another dives into dungeons, another focuses on crafting, and so on. It feels like running a magical little commune together.

It also looks exactly like a cozy game should look. Soft colors, friendly characters, and lots of customizations for outfits and home design make it easy to get attached to your world.

Best for: Groups who want that farm sim feeling with a little more magic and exploration.


5. Spiritfarer: Farewell Edition

Spiritfarer is the most emotional game on this list, but it is also one of the coziest. You play Stella, a ferrymaster to the deceased, sailing a hand-drawn boat across peaceful seas. You build cabins, cook meals, garden, and craft while you care for spirit passengers and help them come to terms with their lives before they pass on.

On the surface, Spiritfarer is a management game about building and upgrading your boat. Underneath, it is a story about grief, memory, and the small acts of care we offer the people around us. It is surprisingly comforting, especially around a holiday that already revolves around food, stories, and family.

Local co op lets a second player join as Daffodil the cat and help with chores. That makes it a nice choice for a quiet late night session when most of the house has gone to bed and you are down to just one or two people still awake.

Best for: Solo players or pairs who want something cozy with a bit more emotional weight.


Choosing The Right Cozy Game For Thanksgiving

Each of these cozy games brings a slightly different flavor to the table, so it helps to match them to your group.

  • If you want one game to leave running all weekend, Stardew Valley or Fae Farm are both perfect long-haul options.
  • If you are playing with kids or non-gamers, Animal Crossing: New Horizons or Disney Dreamlight Valley are friendly and approachable.
  • If you are mostly playing solo and want a meaningful story, Spiritfarer: Farewell Edition delivers a cozy experience with real emotional depth.

However you spend the weekend, cozy games are a great way to keep the room relaxed, connected, and just a little bit magical while everyone works through that second plate of leftovers.