Release!

The first complete version of Son of a Witch is now released on Steam. After almost 3 years of development the game is finally complete. We have gone a long way since being featured by IndieCade and greenlit by the Steam community. With almost weekly updates it has been an exhausting but also a very enjoyable experience.

This is the first release that covers everything I planned to make initially, and much more on top of that. But, this is not the end. There are many more things to come. During the development both the players and myself got a lot of new ideas, so you can expect to see some big updates in the future: more weapons and items with new effects, more mounts, more pets, more special rooms and NPC quests, and more magic.

The next step is porting the game to Nintendo Switch. I plan to do that over the Summer and have the game ready for late August or early September.

After that, I plan to have one big update with new content, most probably for the holidays by the end of the year.

Feedback & Share Bigosaur, 2018-05-16

Mixing beat’em up brawler with bullet hell shooter in a single game

The initial idea for Son of a Witch was to build a game that could be easily described as Castle Crashers meets The Binding of Isaac. I wanted to have endlessly replayable beat'em up experience with much deeper mechanics and ranged combat. But how do you combine two pretty different play styles?

Beat'em up vs dual stick shooting

In beat'em up games you have to line up with the enemy vertically to hit them. In a bullet hell shooter like Enter the Gungeon you can shoot in all directions. These two simply wouldn't work well if you just mashed them together, so I introduced some modifications. The main one was restricting ranged combat to the horizontal direction. You can shoot to the left or to the right. This goes for arrows, thrown weapons and orbs (magic projectiles similar to tears in Isaac). With some upgrades you can get spread shots, or mirror the projeciles on the other side, but the basic targeting is to the left or right.

Having to line up to attack with both melee and ranged attacks made the combat easy to read and perform even when there are different types of heroes and enemies fighting. The standard vertical evading of melee hits now works for ranged projectiles coming your way as well.

Level layout

Beat'em up games usually have horizontally long, linear levels. There's almost no exploration, you just head to the right. I wanted to give the players that great sense of exploration you get from roguelike games: the map is randomly generated and non-linear. Sometimes it branches, sometimes it loops back. You are guaranteed to find a treasure room on every floor. There are 2-3 shops and often special rooms with NPC quests or mini-game challenges. Even if you find the boss and exit to the next level early, it's worth exploring the rest of the level to find better gear and level up your heroes.

During playtesting I found that most players like exploration. The only problem could appear in 4-player co-op games when sometimes the players would spend too much time arguing which way to go. This is especially visible for situations when many new players join the game and just want to move ahead without discovering all the subtle mechanics the game offers. For such players, I added a Party Mode which features a linear level layout, but still gives you random weapons, shops and NPC quests.

Balancing ranged and melee combat

Initially the ranged characters had a huge starting advantage: they could hit an enemy without them striking back. If we just took your standard beat'em up monsters and threw them in a game where all the heroes are ranged, it would be really hard to provide a good challenge to the players. Either the enemies would have to be very fast to close the distance or they would have to have a lot of health to survive until they can threaten the player. Because of this, the enemies in Son of the Witch were designed differently: many of the enemies have range attacks and melee-only monsters serve as live protective moving shields. They usually walk in front of ranged characters and try to engage in hand-to-hand combat with the players while the ranged units are attacking them from the distance.

Having more ranged enemies results in having to do more dodging in Son of a Witch than your regular beat'em up game. There are often some projectiles coming your way and you have to evade them. Since the projectiles are only flying horizontally, there's less dodging that your regular bullet hell requires. So, this mix is somewhere in the middle and you don't need inhuman dodging skills that some of the bullet hell shooters require.

With all this said, you might still feel like the melee heroes are at a disadvantage. To balance things out, I added more mechanics that give melee fighters an edge in some different areas: While magic ranged attacks only deal damage to the enemies, the melee attacks also stun them for a second, interrupting their attacks or magic spells. If you use a weapon with the quick attack (all swords and some axes) you can stun-lock most of the enemies and just keep attacking until they die (or some other enemy hits you). Beside this, melee weapons have special rage attacks that can knock down enemies and stun many of the bosses.

One of my design goals was making sure that melee and range heroes synergize when playing together in co-op games. Having different combat mechanics actually works really good. The knights can stun enemies and keep the ranged attackers busy while the mages shoot them from the distance while buffing and healing their allies.

Knights can use magic too, just not that effective

Beside magic projectiles, there's a wide range of magic spells. There are many different magic staves and every staff has a different spell effect: poison enemies, set them on fire, freeze them, slow them down or speed up your party, shoot lightning, create magic turrets that shoot at the enemies on their own, create obstacles on the screen, teleport yourself into safe spots, etc. Son of a Witch allows you to have multiple weapons at the same time, so you can combine different spells during the same fight.

The magic is very powerful, so at first it seemed like the mage heroes would once again be much more powerful. To balance that out, I allowed for melee fighters and archers to also use the magic items, but with less efficency. For example, the Snake Staff will buff a weapon with poison, but the damage the poison has a base value that does scales with the heroes Magic skill. So, a Knight hitting someone with poisoned sword would inflict 3 poison damage per tick, while a mage doing the same would do 5 poison damage per tick. Another example would be the Earthquake staff that knocks down all the enemies and breaks the rocks with usable items weapon upgrades. When a Knight uses the staff, it would knock down everyone and break 2 rocks on the screen. When a mage uses it, it would break 5 rocks on the screen. Some other weapons work completely the same. For example the Teleport staff just teleports the hero regardless of the level of Magic skill they have.

Item and weapon drops

When you mix two different play styles, you need to make sure that the player gets upgrades and powerups they can use. If I'm playing a mage hero, I don't need a triple-damage upgrade for an axe type of weapon. This can be a big problem for procedurally generated games. If you leave everything to the random number generator, your game won't be enjoyable.

In Son of a Witch, I solved this problem by rating every item and weapon in melee/magic/ranged category and then multiplying the drop rates with the skill levels of heroes in each of the categories. For example, let's say we have an item with a drop chance of 10% and it's an item only used by Melee characters. Let's say it's a single player game, and the player selects a Mage hero, who has 30% Melee skill. At the start of the game, we reduce to drop rate to 30% of the original, making it on 3% chance now.

You might wonder why don't we disable it completely? It's because it's really rare that a weapon or item is completely useless. Even if you are a mage, having a sword available could be useful to do some quests (for example, when the pricess is attacked by goblins, the stun-lock ability of the swords is really useful) or complete some NPC quests easier. Beside that, the game gives you many upgrades during a run, so you might sometimes decide to switch hero class or become multi-class at some point and having at least some of the weapons available helps.

By the way, Son of a Witch launches on Steam today. Check it out.

Feedback & Share Bigosaur, 2018-05-16

Designing death in co-op roguelikes

Single-player roguelikes have a somewhat easy task when it comes to player death. The genre itself dictates that once you die, it's game over. At least, if we adhere to the strict definition of roguelike. Some of the games allow for some progress to spill over into the next game, but all of them make you start over. Without this mechanics, the game isn't considered roguelike.

Now, what happens when two or more players are playing? Is it Game Over as soon as one of the players dies? Or do you allow reviving the players? What conditions need to be met for the player to revive? Answering these questions makes a huge difference in the way the game is played. When deciding what's the best approach, one should consider what is the way you want your game to be played. Do you want to limit the game to player pairs of similar skill level, or you allow newbies to play together with pros? This is an important decision, because roguelikes are often hard games to play. Let's look at some examples and see how different decisions influence the gameplay.

Enter the Gungeon

Enter the Gungeon has limited co-op mode - only two players and the second player can only play a single character. Once a player dies, he becomes a ghost with very limited gameplay options. The revive mechanic is rather interesting. There's an item that allows you to revive the other player once. This works pretty good until a player dies for the second time. After that, you can soon get into a position where only one player plays for a very long time as the only other way to revive dead players is to beat the boss or find and open a chest. This means that Gungeon is pretty hard core and expects both players to play well. If one of the players is a newb, he will die often and get bored waiting to be revived all the time.

The Binding of Isaac

BoI doesn't really have the full multiplayer game. Only the main player gets all the powerups and pickups and others can only play as babies with limited power. The main player shares their health with babies, so it's easy to revive them when they die. It's an interesting mechanics, which makes it more enjoyable as there's no waiting time. However, less skilled players can quickly ruin the game for more experienced ones who have to decide between spending most of the game playing with low health or telling their partners to go hide in a corner and/or wait to revive.

Rampage Knights

In Rampage Knights the dead player turns into a ghost who can move around and knock enemies into pits or interfere with their attacks. With some item upgrades, the ghost can also poison enemies or set them on fire. This is a pretty good mechanics because newbies can actually kill enemies pretty quickly even when dead.

The player stays in the ghost form until 10 enemies are killed. This is a decent solution to the death problem, but it does have its drawbacks. The main problem is that the players are revived to full health, so the players can simply take turns dying and go through the whole game with 30+ deaths. Another problem is that completing a level gets the dead player revived as well. So if someone is low on health after the boss fight, he can simply jump into a pit and get full health at the start of the next level. All this makes co-op in Rampage Knights much easier than the single player mode.

Spelunky

Spelunky also has the dead ghost mechanics. Dead players can knock down some enemies into pits or spikes, activate traps, etc. To revive them, the players have to find and hit a coffin. This is a good solution, however sometimes the dead players can get bored while waiting. Although they can do stuff, it isn't much compared to playing the game while alive. The only big problem with this approach is that the coffin only revives one player, and there's only one coffin per level. So, if you play 3-player or 4-player game it means that some of the players would have to wait for two or three levels before they even have a chance to be revived. This pretty much ruins any fun for players who want to complete the game and not just goof around.

Castle Crashers and Lost Castle

Castle Crashers isn't really a roguelike, but I included it because of an interesting revive mechanics that was also reused in the recent Lost Castle roguelike. When a player dies, others have to come to them and revive them. This means they have to stand still and not fight the enemies for a while. While this mechanics works pretty good in Castle Crashers, in Lost Castle the enemies are much more aggressive, and it's almost impossible to revive dead players until the room is clear of enemies. Since the game has some enemies with high health this can take a while and the dead players can quickly get bored. Combining an experienced player to play with a beginner is not an enjoyable experience for any of them as the newb will keep dying and the pro will spend a lot of their time trying to revive the dead ally instead of fighting the monsters.

Son of a Witch

When designing death in Son of a Witch, I took a look at many games and weighted carefully what would be a good approach. The death mechanics had to satisfy the following goals:

• The game is a roguelike, so death should have some weight
• Players shouldn't be able to revive each other infinitely in a loop
• Pros and newbs should be able to play together and both enjoy the game
• When someone dies, they shouldn't have to wait long before they can play again with all of their powers

The goals were simple, but achieving them took a bunch of iterations. When I presented the game during EGX, I made changes to the way the death works every day and then watched how it affected hundreds of players who played the demo. It only started to work well when I mixed up a couple of different mechanics:

1. The main way to revive players is to kill enemies

When a player dies, he remains dead until all the enemies in the room are gone.

2. Allow reviving during the battle, but at a cost

You can revive all dead players with a Life Staff which can be used once every 5 rooms. With mana potions you can do it more often, even multiple times per battle. This means that the players can stack up on mana potions for tough boss battles.

The Life Staff is pretty common drop, but it's isn't guaranteed to show up in every game and you don't know when or where would you find it. This encourages the players to explore and unlock every gold treasure chest they find.

Additionally, undead heroes can also be revived with the Staff of the Dead which animates the undead

3. Players should be encouraged to cooperate

Once a player is dead, a 20 second countdown starts, and others have to revive him or clear the room of enemies. If the players have no Life or Death Staff, they have to fight quickly to save the game. The bosses have more HP, so the timer is set to 60 for the boss battles.

The possibility of the countdown timer makes the players care about each other more. Experienced players will seek to help newbies during the fights to prevent them from getting overwhelmed and killed.

The timer also removes the boring parts. If a player dies he knows that in 20 seconds he will either be revived or a new game will start. In any case, he won't have to sit and watch while his friends are having fun.

4. A true roguelike offers alternatives

Beside the Life Staff, there are a couple of items that can be used to instantly end the battle and revive the dead:

Barrelize scroll quickly turns all the enemies into barrels and thus ends the battle. It's risky to do with bosses because they turn into big exploding barrels.

You can use the Peace scroll that makes all the enemies peaceful. It doesn't work for bosses, so it's useful outside the boss fights.

You can teleport away from the room with enemies to another room. This resets the timer to 20 seconds or stops it completely if you teleport into an empty room. There are two ways to teleport: The Random Teleport scroll and the Silver Coin which teleport you into a random shop on that level. The teleport scroll can be dangerous as you might show up in a boss room. The best time to use it is during the boss fight after you have cleared all the other rooms in the level and you know it will teleport you into an empty room.

5. Have an easy-mode character for newbies

Sometimes it's best to prevent players from dying at all by allowing them to heal more often. In Son of a Witch, there's a playable healer character who can create food to heal the whole party. It's a great choice for new players and having some extra healing options can also help an experienced player when they are playing together.

Feedback & Share Bigosaur, 2018-05-12

Simple A* pathfinding alternative with interesting side-effects

A* pathfinding has become de facto standard for pathfinding in 2D games. However, it does place some constraints on your level design. While it works great in tile based games, I wanted to be able to place objects randomly at any pixel coordinate in the world. With big map and many of units it can get expensive to compute. In this case, developers usually just optimize their game loop, so that the algorithm doesn't get called for every render frame. Since my game is fast paced, I wanted AI to be really responsive to players moving around, so I searched for alternatives.

Another problem with A* pathfinding is that it's almost perfect. Enemies always take the optimal path and become too predicable. I wanted to have some randomness and surprise factor without having to complicate the AI code too much. I also wanted some enemies to be dumb and sometimes not "see" the way to get to the player immediately. But I didn't want them to become too dumb and get stuck on simple obstacles.

And then I discovered steering and obstacle avoidance. The algorithms are simpler, easier to implement and less expensive to compute. You can tweak many parameters to get different behaviors. With simple tweaks you can get the enemies to defend some areas, wait to attack until the player comes closer, act as a grounp, surround the player, etc. With a little bit of experimentation you can get some behaviors that seem very intelligent.

Since I'm making a game where the players usually have to line up with enemies to hit them, I decided to make that easier for players by having the enemies do the same whenever they can. When the enemy is far away, their priority is to line up with the player while coming close enough to land a hit:

The player can now just move to the right and not worry about having to line up themselves. Additionally, if the player has a ranged attack (throwing axe, shooting arrows, fireballs, etc.) he can simply start shooting and the enemy will make sure he gets in the path of the projectile before it arrives. This makes the combat feel fluid and easy to execute.

For most brawlers the approach above would be enough. Castle Crashers, Rampage Knights and similar games manage to get away with such simple AI because they made their levels with almost no obstacles in the middle of the screen. For my game, I wanted to have more interesting screens with more stuff in the middle: rocks, trees, bushes, pits, etc. on the outside and furniture inside buildings. So, AI needs to be smart about those.

Enter obstacles

Now, what happens when we have some obstacles in between. My approach was simply to allow the enemy to hit the obstacle and then figure out how to go around it:

How do you decide which way to go around? Remember, we are not trying to make the enemies perfect planners, so they can make mistakes. One approach is to simply check which path to go around the object would be shorter. This works fine, but I found out that simply choosing a random direction (UP or DOWN when the goblin hits the bush in the above image) works much better. When you have 4-5 enemies going after the same player, they would split and go around that tree using upper or lower path. It makes behaviour for a group of enemies seem more natural.

What if the unit has two paths of which one is significantly longer than the other? Or what if one of the paths leads to a dead end? Without going back to full A* pathfinding, we can simply make the enemy figure out they took a wrong turn and reset their 'going around the obstacle' state. We can have a simple variable saying how long should avoiding an obstacle take and tweak that based on the level design and the behavior we want to get.

Protecting an area

Now, let's say you want the enemy to protect an area and wait for the player to come closer? We don't need to change any of the AI code at all, just wall off the relevant part of the level and make sure it's longer than the 'longest path to go around' variable from the main AI code I mentioned above.

The green line in the image above shows a long fence the enemies won't cross because the parameter for going around the obstacle is using a lower value than the green line's length. As the player comes closer to the bottom of the screen, the enemies start to have higher chance of coming out of their area to attack him.

This works pretty good in more complex screens. Having the enemies divided naturally by the level layout makes the game more enjoyable for the player as he can fight enemies in multiple stages stages.

In the image above you can see three disctinct areas for combat. The player is now in control and can decide on the tactics. Does he storm the enemy in the middle and then have two separate groups to fight. Or he would stay on top of the screen and allow all three of them to come closer so he can use combo to hit all of them with a single shot.

Having the enemy AI constrained by the level layout makes the combat much more tactical than your standard beat 'em up. Now you just need to create interesting level layouts to give enough options to the player.

Using steering to avoid erradic movement

Now, what's steering? Since we run the obstacle avoidance AI all the time, we want to make sure that the enemy movement feels natural. Going diagonally towards down-left and suddenly turning up would feel strange. So, when the player drastically changes his position, we try to rotate the enemy movement in 45 degree steps. This makes the enemies movement fluid and easier to track. Of course, if you hit an obstacle, you would do a 90 degree turn instead.

Sometimes you just want the unit to stop and go the other way. For example, if the tracked player is dead or escaped the room and the enemy starts tracking another player on the other side of the room. In these cases I allowed sudden turns because it feels ok in my game. But if you try it out and it feels wrong, you can smooth it out by steering in 45 degree steps every X milliseconds until you start going into the right direction. The exact value for X depends on the type of unit moving, so you should experiment until it feels good.

Group behavior for enemies

If you make the enemies treat each other as obstacles, you can get very interesting side effects. Most beat 'em up games allow enemies to walk through each other, but if you forbid that and use obstacle avoidance for AI, you can get cool group behaviors. For example, the enemies spontaneously form groups like in the image above without any changes to the base obstacle avoidance code presented so far.

Surrounding the player

In the images above, you can see three enemies approaching the player. As first one starts to attack, the second one is avoiding the obstacle, i.e. avoiding the first attacker. As he gets close enough, he starts attacking too. In my game the weapon hit boxes are a little bit bigger vertically than the unit boxes, so you can attack an enemy if you're standing adjacent to them vertically as well. From the still screenshot it isn't obvious, but when you see it happening in real time it makes perfect sense.

After that, the third one comes and avoids the initial two attackers. While doing so, he gets past the player as well. Then he turns to face the player and starts attacking from the other side.

What's most interesting is that all of this happens automatically with the standard obstacle avoidance code. You don't have to program some special AI code for it.

Since Son of a Witch is a fun and cartoony game, I only used the most simplest algorithms, but you can make it more sophisticated if you want to. I recommend checking out the red3d website for more behaviors like Seek and Flee, Pursue and Evade, Containment, Wall Following, Queuing (at a doorway), Flocking (combining: separation, alignment, cohesion), etc.

Feedback & Share Bigosaur, 2018-05-06

Steam key scammers are getting creative

Ever since I announced the Steam release date for my game Son of a Witch I have been getting a lot of Steam key requests from press and Youtube/Twitch streamers. Many of those requests are actually fake - scammers just want to get keys to play the game for free or resell on sites like G2A. It might look like getting a single key to resell doesn't make sense, as it would earn them some small amount of money, but when you multiply that with the number of games coming out and the fact that they fake dozens of different accounts to get multiple keys for the same game, it does get substantial.

To weed out the scammers, a good approach is to check their YouTube channel profile and look for the contact e-mail in the About section. However, this isn't always enough. You need to take a close look at the channel itself, as there are a couple of ways they can make it look legit. For example, I had a couple of Youtubers whose e-mail address checks out, but when I take a look at the channel, it seems like the last video they recorded was 2 years ago. If you see @gmail or @yahoo address, it probably means that it's an abandoned account and scammers found a way to get access.

Another way to cheat is to buy fake YouTube views. I had keys requests from YouTube channels that seemed solid. 1000+ views on every video. You would give a key to such channel, right? Well, after looking at it a bit more, I started to see a pattern: every video had between 1000 and 1050 views. And somewhere in the list, there were gaps - videos with only 1-50 views. And there were no videos outside those two ranges. So, there wasn't any video with, say, 250 views, or 1200 views. This means that this guy gets up to 50 views per video and he just bought 1000 fake views for some of his videos.

Some YouTubers don't have an e-mail in their profile, but you can still do some sanity checks. The thing that I often do before even checking if e-mail is correct, is to go to their channel and see what games they cover. If it's your typical channel with Minecraft-only content, or AAA-games only content, then chances of them actually covering an indie game are slim to none.

One of the approaches the scammers are taking currently is going the Twitch route. Unlike YouTube, it's impossible to get contact e-mail for a Twitch streamer. The scammers know you can't verify their e-mail, so you have to take the risk. But not really. There's a feature in Twitch called Whisper. This allows you to contact the streamer directly via chat. You need to have your own Twitch account to do this. I recommend you get a Twitch account anyway, so you can use it to get your game listed in Twitch game directory, so the streamers can mark that they are streaming your game and you can track that.

Feedback & Share Bigosaur, 2018-05-02

How changing my game's image tripled the sales

My game Son of a Witch has been in development since 2015 and entered Early Access on Steam in November 2016. The game was initially named My Mom is a Witch. This name was memorable and unique, but many players and Youtube and Twitch streamers had problem saying it out loud. Take these curators for example:

Because of this, I began to think that another name would be better. However, changing the name was a tough decision. The game won hearts of many players, including official selections from IndieCade and IndiePrize, all under the old name. Changing the name would mean losing some of the search engine traffic, word of mouth marketing and confusing the players.

Since the main character is a son of a witch, the new name was obvious. It would even fit the story better. The only problem was that Son of a Witch is also a pun to a well known pejorative slang phrase which doesn't work well with cutesy graphics of the game. Because of this I decided to ask the existing players on Steam, and the feedback was overwhelmingly positive: everyone agreed that the new name is much better and easy to remember. There wasn't a single comment saying that I should keep the old one.

On July 3rd 2017 I changed the name of the game. It meant going through all the marketing materials and updating the logo. One of the big problems were dozens of YouTube videos using the old name. The game basically wanished from YouTube that day, as nobody would search for the old name anymore. I e-mailed a bunch of YouTubers who had the videos with top number of views, but only one of them went back and updated the titles.

Since I was updating all the graphic assets for the game store page with the new name, I decided to go and update the key promotional image. I still kept key actors: the knight and the Ogre Mama boss, but I changed the character poses and the way the scene is framed to give it some life.

This change might look trivial, but the effect was huge. In the weeks following the name and the graphics change, the game sales went up 306%, i.e. the game sales started to triple. At first I thought this was just some temporary effect. But, now that I have 9 months of sales data, I can confirm that this increase in sales is permanent. A couple of simple changes moved the game to a completely new level.

TL;DR: No matter how good your game is, the game's image is very important. Even if you think it's good, it's worth trying a couple different things and see how the players would react.

By the way, Son of a Witch is leaving early access on May 16th, so check it out.

Feedback & Share Bigosaur, 2018-04-26

SoaW: 28 new achievements

Version 3.3.8. is online:

- 28 new achievements ranging from easy to very tricky ones
- tremor status effect now affects orbs, arrows, bombs and throw weapons
- increased the starting hero skills in casual mode
- fixed bug when releasing the attack button with a bow in hand would initiate the backup knife attack
- fixed bug when typing in chat would activate the backup knife attack
- updated some of the translations

This version concludes the content I planned for the Early Access. I will dedicate the next month or so to extensively playtest the game for the final release, so only expect bugfixes and translation updates in this period. I have a bunch of new features I plan to add in the future, but I want the exiting Early Access release to be well tested and bug free.

Feedback & Share Bigosaur, 2018-03-09

SoaW: 24 bosses

Version 3.1.4 is online with the 4th desert boss: The War Elephant. This is an important milestone, because all the bosses I planned for the first full game release are now in the game.

The initial plan was actually 20 or 21 boss, but as the game has been developed many new ideas came and now we have 24. I do have some ideas for 4-5 more bosses, but those will come after Early Access.

Here's a short roadmap for the rest of Early Access development:

- Barbarian Hero with some special mechanics (shh, it's a secret)
- 12 special challenge modes to unlock the barbarian
- Hard mode
- 45 more achievements already planned "on paper", maybe more
- there might be some additional pets and items/weapons along the way
- a new trailer for the game

I plan to exit Early Access in May this year if all goes as planned.

There are also some ideas that might be implemented before we exit EA, but most probably afterwards:

- more mounts: baby elephant, horse, deer, green baby dragon (spit poison)
- additional quests and special rooms
- more weapons and items

Feedback & Share Bigosaur, 2018-02-05

SoaW: The final level

Version 3.0.9 is up with the final, 7th level of the story, the end-game boss and the final cut-scene:

- a new desert level with a new status effect (thirst)
- completed the game story w/ the final boss fight
- some enemies have petrify attacks. Drink the dragonfire potion quickly to remove or use the Life Staff
- 3 new enemy types
- 1 new boss
- 2 new weapons
- 2 new items (both were present in the game, but didn't drop before)
- fixed the drop algorithm for the Magnet item
- bugfixes for ranged AI
- fixed "on sale" name translations for the potion shop
- blood runestones now give you 20 HP on top of +20 health increase
- balanced archery weapons and items drop rate
- allowed special / quest rooms to spawn in casual mode
- fixed a netcode bug where the Book of Ice would freeze enemies who are immune to freezing
- added more detailed decorations to the forest area

The game can now be played from start to end, but this is not the final game and there's still a lot more content to add before we exit early access. The most important ones are the Barbarian hero and 12 quests that you will have to beat to unlock him. And after that, 2-3 more bosses for some variety in the desert level, a bunch of new items and Hard mode. Also, about 30 more achievements are planned now that the game is completely playable from start to finish.

Feedback & Share Bigosaur, 2018-01-28