
- Every time I turn on the game, it reverts to full screen (1920x1080) even though I set it to windowed mode (1600x900)
- Stove client screenshot function does not work
(Considering this happens in other games as well, it might be a Stove client or engine issue...?)
- It's great to have a function to skip to the next choice or chapter
But separately from that, I wish there was a skip function to fast-forward through dialogue
- Can only be operated with the wheel on the log screen (no mouse dragging)
- Back jump or auto function sometimes doesn't work
- I don't know if you intentionally blocked it, but saving is not possible in the choices
(You can go to the previous dialogue with the backlog and then save, but it's annoying...)
(I want to eat pizza...)
- It is said that you can open and close the menu with ESC, but opening the menu works, but it doesn't close again
(It only closes when you press the 'To Game' button / There are many cases where you can't exit with ESC or right-click in screens other than the menu)
(I took this a few days ago, so I haven't checked if it has changed)
- The takoyaki truck image stays for too long
(I took this a few days ago, so I haven't checked if it has changed)
Leaning^was sleeping
Anxious -> Anxious
- It would be nice to have a separate indication of whether a side story has been viewed or not


#FlakeMission




Half worried, half expectant.
I think I've always watched the LOA showcase with this feeling.
When did it become like this ㅜㅜ
Originally, I only had expectations, sob sob..
Anyway.. it has become like that.
I'll work hard on my homework today and watch it well tomorrow.
Have a good weekend everyone ~




I just realized...
[5★ Units]
ㆍ The base probability of getting a 5★ unit is 1%, and the total probability (including pity) of getting a 5★ unit is 2.14343%.
ㆍ For rescues 1st – 57th, the base probabilities apply. Starting with the 58th rescue, the probability of obtaining a 5★ unit increases by 4.5% with each attempt until the 69th. On the 70th rescue, a 5★ unit is guaranteed, and there is a 50% chance for it to be the 5★ rate-up target.
ㆍ If the rate-up target does not appear on the 70th rescue, the base probabilities will be applied again from the 71st to the 127th rescues.
Starting with the 128th rescue, the probability of obtaining a 5★ unit increases by 4.5% with each attempt until the 139th.
On the 140th rescue, the 5★ rate-up target unit is guaranteed.
ㆍ Upon obtaining the 5★ rate-up Unit, the rescue count is reset.
ㆍ The probability of obtaining the 5★ rate-up target (including pity) is 1.42895%.
(https://page.onstove.com/chaoszeronightmare/en/view/11412673?boardKey=141890&combined=false)
Notice that:
1. It says at the start of 128th rescue the probability that is increased is of obtaining a 5★ unit? Not 5★ rate-up target.
2. There's no saying that the next obtained 5★ target after the rate up target not appearing is a 5★ rate up-target?
Apparently, they only said that the rate-up target is specifically guaranteed at 140 pulls. They never said that you're guaranteed to get the rate up combatant as the next 5★ that you'd get after failing getting one.
Meaning you're only guaranteed exactly once you've reach 140 pulls. So, anything before that, does not guarantee you. 1-69th pulls and 71-128th pulls have the same probability? CMIIW.
Take a look at ZZZ:
In ZZZ, they did say that if we didn't get the limited S-Rank agent, then the next S-Rank agent is guaranteed to be the limited one...
I notice atleast most of the Youtube CC says CZN's pity is your typical hoyo games... Which it does make sense if they based it off the old probability guide...
What do you guys think?
Have any of you experienced getting standard 5★ character 2x in a row in a limited/rate up banner? Is CZN's gacha system actually worse than we've thought? Or is this just wording issue?
I've always thought people were complaining for losing a first 5050 cuz no one have said that they lost 5050 twice.



Title : Home: To Home
Developer : Mr.Spoon
Features : 2D pixel graphic 3rd person side-scrolling emotional narrative rhythm adventure game
Platform : PC
Language : Korean support
Price : 8,900 won
Home: To Home is a 2D pixel graphic 3rd person side-scrolling emotional narrative rhythm adventure gamemade solely by developer 'Mr.Spoon'.It is.
The biggest feature of this work is that the game's narrative is based on the developer's autobiographical experiences.It is in.
One day in November 2014, when autumn was deepening, a public restroom in Busan.
Late at night, past midnight, there was a teenage boy who still had a youthful look on his face.
Running away from home.
When we think of 'runaway teenagers,' we often think of children who are delinquent or engage in misbehavior.
But some people make the choice of 'running away from home' in order to survive, or with a desperate desire to live.
The protagonist of this work was also like that.
At first, he simply ran away from home without a plan, wanting to escape the ruthless violence.
However, he wanted to live like a human being, even just for one day, so he decided to run away from home instead of running away.
In the early part of the game, facing the protagonist's room, which is cluttered with a cracked monitor and a collapsed hanger, we can guess that something unusual happened here last night.
The protagonist (hereinafter referred to as 'I') hurriedly grabs an outer garment, wallet, and cell phone to block the autumn wind.
And finally, he leaves home with his 'guitar', which is his only hope and joy.
I ran away from home.
There is a convenience store and a public restroom nearby,
There are no walls to block the cold wind, but under the bridge where you can avoid the cold raindrops of autumn rain.
That place, which does not overlap with my father's commute and is not frequented by people, was the only place I chose, my own haven.
How can a place like this be a haven?
A place where you don't have to tremble at the constant violence.
A place where you can breathe and sleep comfortably.
A place where I can stay as myself.
Therefore, this place was not a 'home' as a place, but a 'my haven' as a meaning.
However, life on the road was not easy as expected.
I didn't have much money, and because I was a minor, I couldn't get a part-time job without my parents' permission.
So I chose busking.
That was the only way I could make money.
I met a baby kitten.
I was in a situation where I was barely able to take care of myself, and I didn't have the energy to take care of another life.
Still, I couldn't just leave it alone.
Whether it was pity,
or a sense of kinship as if I was seeing another 'me' who had to endure life on the road with my whole body, I don't know.
I took in a baby kitten that seemed like it would die at any moment.
It was warm.
The sound of that small creature's heart beating reminded me that I was also alive.
I have to cheer up.
For me.
And for this child too.
There were good things too.
I learned that there are more good people in the world than I thought.
There were bad things too.
I had to learn the reality that the world can be more cruel than I thought.
Life on the road.
The relationships and bad relationships that started on that road.
This is a record of my short journey that lasted about two weeks, and what I saw, heard, felt, and realized at that time.It is.
Game Features
When you start the game, you can first select the game mode and the difficulty of the rhythm game.
'Home: To Home' has two modesis prepared.
Story Focus : A mode where you can fully immerse yourself in the story without puzzle elements.It is.Original Journey : A mode where you can enjoy the various elements prepared by 'To Home', such as puzzles and rhythm games, and feel the fun of the story and gameplay together.It is.You can also set the difficulty of the rhythm game.You can also set.
It consists of four levels: Easy, Normal, Hard, and Very Hard.You can choose the difficulty level that suits you.
The rhythm game proceeds by pressing the key in time when the notes coming down from the top touch the baseline.It becomes.
If during the game If the rhythm game feels difficult, or
If you want to exclude the rhythm elements and listen to the OST, or
If you want to move on to the next story immediately,
You can skip the rhythm game section by selecting the 'Listen' or 'Skip' menu.
You can also adjust the game's difficulty settings again through the 'Options' menu on the title screen.You can.
Mini Game: Matching Codes
Remembering: This is the rhythm to play. Listen carefully and select the note corresponding to the guitar string.Check: You can check how many codes you have matched.Play: You can listen to the performance of the selected code.Every night, the protagonist explores a dream space lined with numerous clocks and doors.
Decide which door to open based on the given clues.
If you choose the right door and enter,
The story of the protagonist from childhood to the present unfolds one by one in the form of a monologue.
Take your time and enjoy the episodes from 1 o'clock to 12 o'clock one by one.
Are you at 'Home'?
'Home' does not simply mean a place to stay.
In English, 'home' is expressed separately as 'house' in the spatial sense and 'home' as an emotional haven.
'Home: To Home' is not a home as a space, but
It makes you think again about what 'home' means as a place where I can truly stay and breathe comfortably.
This work is neither grand nor flashy.
Nevertheless, it is full of sincerity that is comparable to any other work.
Just as a simple story sometimes comes as a great resonance,
'Home: To Home' tells the story of a boy calmly and calmly without exaggeration or embellishment.
'Home: To Home' tells the story of a boy calmly and calmly without exaggeration or embellishment.
What you feel and realize in the process is entirely up to the person playing this work.
To some, it is a pity,
To others, it is empathy,
And to some, it is a quiet comfort.
When introducing 'Home: To Home', the story of the OST included in this work cannot be left out.
The OST of Mr.Spoon's developer, sung in a calm and calm voice, contains a quiet sadness that makes your heart ache, rather than fierce anger or terrible despair.
Especially when listening to 'Hello, Santa',
The deep loneliness that emanates from the song made my eyes water involuntarily.
'I hope you don't get too drunk,
I hope you have a good day'
Even though I knew early on that Santa didn't exist,
Still, every year when Christmas approached,
My heart ached at the fact that I had wished for a peaceful day when my father would not commit violence as a gift.
Each line of lyrics, each line of dialogue, and each line of monologue in this work contains a deep and heavy sadness that cannot be fully understood by someone who has not experienced it firsthand.
What kind of time do you have to go through and what kind of heart do you have to live with to be able to create such songs and songs?
What kind of courage do you need to sublimate this pain into a work?
Now that I've finished playing,
I... It's not easy to choose the right word for what to say or how to say it.
How can I dare to evaluate a work that is like someone's autobiography and memoir?
As a person with childhood memories that are different but somehow similar,
And as a parent with teenage children now,
I couldn't help but feel sorry for myself throughout the play.
Even though I was so lonely
Even though it hurt so much
Even though I was so sad
Even though the wound was so deep
Thank you for not giving up,
Thank you for living today after yesterday,
And thank you for moving towards tomorrow.
A work about a boy who had to be an 'adult child' who had to grow up too early at a young age, 'Home: To Home'.
For the developer, Mr. Spoon
Your story was never cheap.
There are countless stars in the night sky,
The city lights are too bright
I heard that the stars we see when we look up are only a few of the brightest.
But even if no one recognizes you,
Even if you can't shine brightly,
Even if no one recognizes my existence,
Still, you and I are definitely stars shining somewhere in the night sky.
Even if I am not the main character in this world,
The main character in my world is only ourselves in the past, present, and future.
And I think the biggest driving force that moves us is not great luck or great happiness,
It's small and trivial pleasures that seem so trivial at first glance.
Even if you can't be the best,
You have always been shining because you have always done your best.
There will definitely be times when you are upset that the light is not bright enough.
Even so,
The fact that you are shining remains unchanged.
After passing through a long tunnel-like time with no end in sight,
I send my sincere support to your today, tomorrow, and all the days you will face as a true adult.
Thank you for telling your story,
Thank you very much.



I made "Haru" from light clay
Handmade by: ดินเบ๊าเบา - かる〜い粘土




I'm writing this to take a break. I'd be happy if you could take a look to change your mood.
I've already seen it quite a bit, but the event chaos and the added elements are a nuisance, lol.
I'm grateful that they made it so I can always see the tunnel!
But being interrupted by the copy event in the second half makes me lose the will to retry, lol.
You can now bring save data from the permanent chaos into the event, right?
I tried it out a bit, but if you leave the permanent one, it's a pain to rebuild the codex...
I want to use Chizuru since I went to the trouble of getting her.
Knowing other balance-breaking formations makes me lose the motivation to build her...w
Still, assuming I'm going to approach Chizuru positively,
what would be the recommended formation and inspiration?
I had fun playing Monarch 9 with Chizuru, Veronica, and Rei.
But I want to use Veronica and Rei with Meiling...
I'm casually looking for recommended formations, lol.
As save data, is it better to increase the number of hits for Tsukikage (like Meiling's Rising Dragon)?
Tsukikage + rapid fire is also fun.
I haven't completed the save, but I was able to output enough power to defeat both Monarch 9s.
In terms of my save, it seems like increasing the number of hits is stronger, but I'm worried because measures have been taken against the number of hits. Hmm.
I want to use Chizuru and have fun!
Sorry for the miscellaneous writing.




When you arrive at DDP Art Hall 1, you are greeted by a bustling entrance like a gateway to a travel destination.
The staff hands out Quest Bookgives you the feeling of a passport. You complete the journey by stamping this booklet.
A perfect guide to adventure, exploration, and challenge.
It is probably an homage to The Hitchhiker's Guide to the Galaxy.
The design and finish quality are quite good.
Additionally,
you also get Lost Ark and Stove coupons when you enter
When you go inside,
there are about 80 small worlds lined up in booth form.
Each game is like a small autonomous state, with its own rules and artistic tastes.
Development team An Gaekkot
A short puzzle adventure game developed by, Flower Blooming in People
Alferatz's
adventure mystery game ‘Connected Clue’ is the game we know well as a board game.
H5DEV's second occult mystery game project OD. It is a sequel to Novena Diabolos.
Each booth displays games according to its own color.
The event proceeds in the form of demonstrating the game or giving souvenirs when you follow the developer's SNS.
The Mago Special City Black Market, which attracted attention because of its long line.
It is a Sannabi goods shop.
I bought a Cheolho card, badge, and king sticker here.
It was the Beaver Rocks Festival, a time when I could newly learn about the fun of games that I didn't know before.
Now for the disappointing points.
Disappointing points
1. Traffic line map.
-> Beaver Rocks can be seen as divided into 3 areas. Up until now, Indie Game Exhibition Hall, Experimental Game Space, Naver Webtoon Collaboration.
A natural traffic line to the experimental game space and Naver webtoon was not secured, and the sign in front of the automatic door was weak, making it difficult to find.
It would have been better if there was something marked on the automatic door. Or put up one or two more banners or panels.
2. Toilet information.
It wasn't easy to find the restroom. I had to follow the DDP's own information sign without any separate markings, but the problem was that the presence of the DDP facility's own information sign became very faint due to the booths and lights.
3. Naver Webtoon Game Collaboration Quality.
There were some games where the quality of the exhibition itself, rather than the quality of the game itself, was embarrassing. This is because, in the case of certain games, only the chat window appears and ends without showing what the game is about.
Lastly, what does Beaver Rocks mean?
As everyone knows, Beaver Rocks was Burning Beaver.
First of all, what is a beaver?
Beavers build houses by the water,
They gnaw on trees to create structures and cooperate communally.
That's why beavers have long been used as a symbol of creation and pioneering.
That's why beavers are used for indie game events.
Indie game developers create as if they are self-sufficient,
Because they are beings who build their own world, the beaver was a metaphor for indie creators.
Here, the previously used 'burning' does not simply refer to a burning state, but rather a festive expression that means passion, concentration, and exploding creative energy.
It feels like “the moment the flame of creation burns.”
“A festival where indie creators with a burning passion for creation gather and unfold. That was Burning Beaver.
Newly changed Beaver Rocks was named with the meaning of 'Passionate indie game creators create a huge festival venue that will shake the world (Rock)'.
It contains Future Lab's ambition to create an indie game festival that will shake the world with more creators.
A change in meaning that seems to create a vibration of creation that resonates louder on a larger stage.
If Burning Beaver is a festival that ignites inner passion, Beaver Rocks symbolizes energy that explodes outward.
There were some disappointing things, but
the passion that burned the heart becomes a wave that will vibrate the world.
I will conclude by wishing for the development and success of Beaver Rocks.



Gives you some items which can help progress



I'm in an infinite loop.





BM의 실패로 얻은 교훈, "자신이 좋아하는 걸 만들자"
박정우 대표는 4년 차 1인 인디 개발자다. 아... 이렇게 이야기하면 누군지 모를 사람도 있을 듯. 박정우 대표는 <데드레인> 시리즈, 그리고 지난 3월 18일 출시한 <다크워터: 슬라임 인베이더>의 개발사 데브박스의 대표이다.
<데드레인>과 <다크워터> 등 그가 개발한 게임을 보면 알 수 있듯 플랫포머 장르에 푹 빠져있음을 알 수 있다. 그래서인지 그가 개발한 게임은 플랫포머라는 장르의 재미를 정석으로 담아내고 있다는 평가를 받는다. 즐기는 만큼 잘 알고 있고, 잘 알고 있는 만큼 잘 만든다는 의미.
그의 독특한 이력은 '퇴사 후 나만의 게임 개발'을 성공해낸 개발자라는 점, 그리고 1인 개발자라는 점이다. 게임 애니메이터로 활동했던 그는 재직 중 <데드레인>을 개발했고, GIDC, BIC, 유티니 코리아 어워드에서 수상까지 경험했다.
최근 <다크워터>를 출시한 뒤, 이제야 여유가 좀 생겼다는 박정우 대표를 만날 수 있었다. 그에게 1인 인디 개발에 대한, 그리고 향후 계획에 대해서 이야기를 나눠봤다.

데브박스 박정우 대표
# "<다크워터>는 그동안의 시행착오를 거쳐 내가 만들고 싶었던 게임 "
디스이즈게임: 전작인 <데드레인> 그리고 이번에 나온 <다크워터> 모두 플랫포머 장드다. 이 장르를 원래 좋아했었나?
데브박스 박정우: <데드레인>을 개발하며 재미를 느끼게 됐다. 게임을 만들며 장르에 빠졌다고 해야 하나? 사실, 그전까지는 장르에 큰 관심이 없었다. 그런데 어느새 연구 차원으로 점차 다른 플랫포머 게임도 하게 되더라.
그럼 플랫포머 장르의 재미를 느끼게 해 준 게임은 뭐가 있을까?
<솔트 앤 생츄어리>, <오리> 시리즈다. 사실 어려운 게임에 도전해본 적은 없었다. 그래서 처음엔 죽고 또 죽기만 했다. 그런데도 계속 도전 욕구가 생기더라. '아, 이런 게 바로 플랫포머 장르의 재미구나' 싶더라.


왠지 어려운 게임이 목표처럼 들리는데.
<다크워터> 개발을 막 시작할 땐 그랬다. <오리>와 <셀레스트> 영향을 적지 않게 받았다. 아실 분은 아시겠지만, 두 게임이 어렵기로 소문나지 않았는가? (웃음) <셀레스트>를 하며 3천 번 정도는 죽은 것 같더라.
<다크워터>가 어렵게 느껴지진 않았는데, 개발하며 노선이 바뀌기라도 했나?
맞다. 어느 순간 이상하다는 생각이 들었다. 내가 만들고 싶은 대로 게임을 만들고 싶었다. 모두가 친숙하게 할 수 있는 그런 게임을 원했다. 그런데 친숙한데 어려운 게임? 뭔가 앞뒤가 안 맞더라 (웃음). 처음엔 가시에 닿기만 해도 죽을 정도로 지금보다 훨씬 어려웠다. 그런데 한 스테이지당 20분씩 플레이 해야 하는 게임에 이런 난이도는 어울리지 않더라. 그래서 난이도를 조절하게 됐다.
[관련기사]
[핸즈온] '데드레인' 시리즈 개발사의 신작 '다크워터'
방금 하신 이야기나, 텀블벅에 올라온 개발 이야기 등을 보면 게임 수정을 많이 한 것 같다. 1인 개발이라 테스트 피드백을 받기 힘들었을 텐데?
상세히 피드백을 주신 유저들 덕이다. 처음에는 데모 공개 기간이 끝나면 게임에 대한 관심이 줄어들 줄 알았다. 그런데 어느 날 장문의 피드백이 메일로 왔더라. 게임을 개발하며 짚지 못했던 점들이나, 플레이어 입장에서만 느낄 수 있던 점들을 상세히 짚어 주셨더라.
피드백을 받을 때마다 수정, 또 수정했다. 어느새 처음 예상했던 론칭 기간보다 5개월이 더 흘렀더라. 하지만 사람들이 준 피드백이 떠오를 때마다 수정하는 걸 멈출 수 없겠더라. 그래서일까? 지금은 스스로 만족할 퀄리티로 나왔다고 생각한다.
그럼 만족도를 점수로 따진다면 스스로 몇 점 정도 줄 수 있을까?
85점 정도? 출시 전에 할 수 있는 건 모두 했다. 물론 아쉬운 점이 없진 않다. 게임 표지의 경우 외주를 줘서라도 바꾸는 게 좋지 않았을까? 게임이 본격적으로 재밌어지는 부분이 있는데, 이걸 좀 더 앞으로 배치했어야 했나? 이런 생각들이 많다.
그래도 85점이면 꽤 만족했다는 느낌이다. 하지만 자기가 '만들고 싶은 게임'을 좀 포기하더라도 좀 더 잘 팔릴 수 있는 게임을 만들고자 하는 욕심은 없었나?
사실 그 부분은 전혀 신경 쓰지 않았다. 왜냐면 <데드레인 2>를 개발하며 시행착오를 너무 많이 겪어봤기 때문이다. 괜찮다면 <데드레인 2> 이야기를 좀 하고 싶다.
인디 개발이란 하루하루가 불안함의 연속이다. 생활비, 불확실한 게임 흥행에 대한 걱정을 안 할래야 안 할 수 없다. 그렇다 보니 돈 걱정 없이 게임을 만들고 싶어지더라. 그런 생각에 <데드레인 2> 비지니스 모델(BM)을 바꾸게 됐다.

수익구조를 바꾸면서 기대했던 만큼의 성과를 얻었나?
1편은 유료 게임이었다. 인기도 많았고 호평이 자자했지만 불법 다운로드 수가 장난 아니더라... 정말 착잡했다. (전작에서 인기가 검증됐으니) 후속편을 부분 유료화로 만들면 더 많은 돈을 벌 수 있지 않을까 하는 생각이 들더라.
하지만 실패했다. <데드레인>의 절반밖에 벌지 못했다. 1편이 1년 치 수익을 벌었으니, 그 절반이면 어느 정도일지 알 거라 생각한다. 돌이켜보면 이도 저도 아녔다. 재미와 돈 둘 중 하나만 잡았어야 했다. 둘 다 어정쩡하게 원했다 보니 중구난방이 되더라. 차라리 BM이 잘 된 게임을 분석하거나 기획에만 집중했어야 하지 않았나 싶다.
<다크워터>를 만들게 된 것도 이런 이유가 크다. 혼자서 BM까지 챙기기엔 역량이 부족했다. 차라리 가격을 늘리되, 사람들에게 내가 보여줄 수 있는 모든 걸 담아내고자 했다. 내가 잘 하는 게 뭘까 생각하니 역시 플랫포머고 내가 좋아하는 것들이더라.
<데드레인>에서 게임 분위기도 확 바뀌었는데, <다크워터>의 밝은 분위기가 취향인가 보다.
굳이 따지자면 <데드레인>쪽이 취향이다. <데드레인>도 좀비영화를 좋아해서 만들게 된 게임이다. 하지만 2편이 생각보다 성과가 안 좋았다. 그래서 여태껏 시도하지 않은 걸 해보고 싶어졌다. 마니악한 좀비물과 달리, 사람들이 쉽고 친숙하게 접근 가능한 캐쥬얼 게임을 만들어보고 싶었다.

밝은 색감의 <다크워터>

어두운 색감의 <데드레인 2>
다른 이야기도 듣고자 한다. 만들고 싶은 게임을 위해 퇴사까지 한 거로 아는데.
맞다. 게임 업계에서 일하게 된 것도 게임을 만들고 싶었기 때문이다. 그런데 회사를 다니면 다닐수록 내가 부품이 되어가는 느낌만 들었다. 더 늦기 전에 나만의 게임을 만들고 싶단 생각만 들더라.
새벽에 일어나면 게임을 만들고, 퇴근하면 프로그래밍을 공부했다. 회사에서는 동료들 어깨너머로 배워가며 여러 조언도 구했다. 지금 생각해도 어떻게 해냈는지 이해가 안 된다. 그래도 <데드레인> 론칭을 끝내고 반응을 보니 나쁘지 않더라. 아예 1인 개발을 시작해도 될 것 같았다. 그렇게 퇴사를 결심했다.
회사에서의 개발과 1인 개발 다 해본 흔치 않은 분이다. 어느 쪽이 더 힘들었나?
회사에서는 매일 매일이 힘들고 무서웠다. 앞서 말했듯 내가 부품이 된다는 생각만 들었으니 말이다. 게다가 크런치 기간이 되면 매일매일 일정으로 가득 차고 삶에 여유도 없더라. 삶에 보람을 못 느끼게 되니 정신적으로 매우 지치더라. 인디 개발에 거리낌 없이 뛰어들 수 있던 이유기도 하다.
반대로 1인 개발을 할 때는 야근이란 생각이 전혀 들지 않는다. 내가 투자한 만큼 게임 퀄리티가 올라가니 말이다. 물론 어려움이 없는 건 아니다. 불확실한 미래와 게임의 흥행 여부 같은 걱정들 말이다. 그렇지만 일 자체가 힘들다는 생각은 전혀 들지 않는다.
퇴사 때 분위기는 어땠나?
돌이켜보면 동료들은 크게 신경 쓰지 않았다. 대신, 게임에 대해 잘 모르는 사람들은 퇴사를 만류했다. 반대로 개발자들은 보통 응원해주더라. 아무래도 개발자라면 한 번쯤 해보고 싶은 꿈이기도 하니 말이다.
# "유저 피드백이 그립다"
코로나19로 작년 행사 대부분이 온라인으로 바뀌었는데, 어려움은 없었나?
진행 측이나 참여 측이나 아쉬움이 많이 남을 수밖에 없었다. 아무래도 이런 행사는 모두가 처음이지 않은가. 온라인으로 진행되며 퍼블려서의 행사 참여도 줄어들었다. 인디개발자와 퍼블리셔 간의 연결이 줄어든 게 꽤 아쉬웠다.
제일 힘든 건 유저 피드백을 받을 수 없단 점이다. 피드백을 통해서 배워나갈 때가 많다. 현장에서 실시간으로 버그를 수정하거나 하기도하고. 플레이하는 걸 지켜보는 행복도 마찬가지다. 내가 기획한 의도와 플레이어의 행동이 맞는지 확인하는 과정이 중요하다. 그런데 온라인으로 바뀌며 이 점이 어려워졌다.
홍도도 그렇다. 인디 개발자에게 홍보란 생각조차 할 수 없는 일이다. 운이 좋아야 미디어에 노출되는 정도? 아니면 게임을 잘 만들어 관심을 많이 받거나 하는 정도다. 오프라인 행사가 이런 홍보 기회를 많이 줬는데, 아쉬움이 남는다.

BIC를 비롯, 주요 인디 행사들이 온라인으로 개최됐다
개발 일정에도 영향을 줬을 법한데.
온라인으로 진행되다 보니, 특정 기간 안에 데모 버전을 제출해야 한다. 그런데 한 번 제출하고 나면 게임 수정이나 버그 해결이 불가능하다.
1인 개발 대선배까진 아니더라도. 선배 정도로는 불러도 문제없을 것 같다. 다른 개발자들이 자문을 받기 위해 많이 찾아올 듯한데, 보통 많이 접하는 질문이 있나?
사람 만나는 걸 별로 좋아하지 않아서 개발자 간 교류는 거의 없다. 그래도 오프라인 행사 때 학생들로부터 종종 질문을 듣곤 한다. "게임을 끝까지 제작하려면 어떻게 해야 하는가?" 같은 질문 말이다. 그럴 때마다, "정말 작은 것부터 제작을 해봐라" 그렇게 말하곤 한다.
학생들 이야기하니, 요즘 학생들은 확실히 느낌이 다르더라. 게임 행사들에서 학생들 작품을 볼 때마다 깜짝 놀라곤 한다. 회사 생활에 찌든 게 없어서 그런 걸까? (웃음) 창의력과 잠재력이 정말 남다르다 생각한다.
1인 개발을 계속하는 이유에는 그런 점도 있을까?
물론 혼자 개발하는 게 익숙하기도 하다. 하지만 아직 제대로 성공하지 못해서 1인 개발이라 생각한다. 돈을 번다면 동료를 원하고 싶다. 그러나 지금은 아니다. 같이 작업을 했을 때 성공할 것 같다는 확신이 들 때, 그때 규모를 늘리고 싶다. 다른 사람을 무책임하게 협업할 순 없으니 말이다. 지금은 망해도 혼자고, 칭찬도 혼자 받으니 좋은 점도 있고 (웃음).
누군가 1인 개발을 하겠다 물어보면?
말리지 않겠다. 하지만 정신적으로 게을러지지 않기 위해 노력이 많이 필요하다. 집이 곧 작업실이고, 작업실이 곧 집이니 게을러지기 쉽다.
마지막으로 다음 작품으로 어떤 게임을 만들고 싶은지 알려 줄 수 있나?
게임을 통해 조선시대나 한국을 알리고 싶다. 물론 언제나 게임의 재미가 가장 중요하다. 플레이어들이 게임에 집중하게 되고, 이를 통해 한국에 대해 하나라도 더 검색하게 되는, 그런 게임을 만들고 싶다. 예전부터 꿈꿔오던 목표인데, 게임 개발 실력이 늘고 자신이 있을 때 도전에 나서고 싶다.

