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I liked this one a lot, and I would say that I disagree with your evaluation about the game having too much Stuff. While I do think the balance could stand to be harsher which, yes, would have been something you could do more comfortably with a more trim scope, I can't really see removing any of these elements. Touch encounters provide clarity in decision-making. Two base enemy types enable moment-to-moment decision making while a stronger one adds tension, and a boss provides a climax and clarifies where the "goal" is, while also emphasizing the unique setup of needing to *exit* the dungeon after finishing it - which itself made my brain sparkle and is not something I would want this sketch to lack. The gates *need* to swap with this setup, otherwise it will always be a free path to the exit, and disallowing that is part of what makes the return trip interesting. Perhaps the most extraneous element would be the MP and spells, especially since I think it's paralysis that most heavily unbalances the game (and you could possibly lean into the Blind item instead as a "replacement" for it), *but* two-resource management is easier to make interesting than single-resource management, and without it I get the feeling I would have been making fewer Interesting Decisions. There's a lot to chew on here and it feels "complete" within its scope, and that's a big part of why this one may actually be my favorite of your sketches so far. 

With all that in mind - I do agree with what you're saying about truly embracing the hour, mainly in that I think it wouldn't hurt to embrace the result more, especially when your hour-long experiments regularly produce more interesting exploration by themselves than some entire commercial games do. A greedy, self-serving part of me absolutely wants to see what you can do with an extra half-hour, but I do think that being able to see more of the magic in what you've made is a sensible goal as a designer - especially since I've found these sketches inspiring and plenty magical already.

Then again, I can say all that, but I get the feeling I might also struggle to feel fully happy with something made in a time limit that was too tight for its scope - I definitely felt that way about my "worst" game. I suppose I'll find out soon enough. Regardless - good work!

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i'll try and give myself a little more credit, because i think i agree with you about it feeling "complete". there's too much stuff for the process, but for the product it feels about right. i think everything feels like it's serving a purpose and nothing important is missing. i think my actual issue with the product is that the level design is kind of slapdash and i feel like you sort of just end up fighting everything anyway. there are definitely enough resources to, and i'm not sure there are that many opportunities to reduce the strain with smart routing... if i had more time, i would've liked to stop and think through what different enemy placements or level geometries mean for decision making. and maybe make the boss a teensy bit scarier.

but i recognize that rough level design is kind of a luxurious problem to have given the circumstances :P thanks a lot for sharing your thoughts will, i always love hearing them

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I do kind of agree about the level design from the perspective of a level creator; I note that a few paths both start and terminate in an enemy, meaning you are, in fact, forced to kill both - but a big thing that I've been trying to internalize as a designer is that a simple puzzle/setup/etc. is far more complex to someone who doesn't know how all the parts come together. A player who fails once can take that information forward into a successful run and feel like they've "learned" the game. Perhaps a player will prioritize the mace now that they know it exists, and they'll prioritize zombies that they know will be in their path. This seems simplistic, and like there's a single "obvious" solution, but it's obfuscated at the start, which goes a long ways to providing the sketch with a sense of depth. I think I've mentioned this before, but that's part of the magic of these sketches - their setups are all so different that the joy and added complexity of learning a new set of rules balances out the more shallow parts that you're forced to accept due to the time constraint. Perhaps this is smoke and mirrors in a sense, but also, so is almost everything else we do :v