Dear Heirs of the Covenant!
I'm Editor Kaka!
Dang~Dang~ Dang~ Dang~ ♪ As the spring breeze gently blows, the new semester quietly begins!
The heroes who once guarded the world of Orbis have now become your classmates,
full of expectations, ready to start their campus life at Kaan High School!
Which hero would you most like to be your neighbor and spend a semester of campus life with~?
Please leave your game nickname, server name, and the hero you want to be your neighbor in the comments!
As long as all heirs participate in the event according to the format, we will send you 2 Leaves of Life as a reward~!
■ New semester, I will be withwhichheroasneighboringtablemate?Activity
[Event Period]
- Taiwan time 3/5 (Thursday) ~ 3/11 (Wednesday) 22:59
[How to participate in the event]
- Leave a message according to the format below to complete the event!
※Example: Editor Kaka/Asia Server/Hero name you want to be your new semester neighbor
*If the message format does not comply with the regulations, or contains special symbols not listed in the format, you may be excluded from participating in the event. In order to participate in the event smoothly, please be sure to leave a message according to the above format!
[Event participationreward]
- All participants:2Leaves of Life
※It will be sent to the in-game mailbox on 2026/3/13 (Friday) (storage period is seven days).
[Please be sure to read the following! ]
- If you do not fill in the correct game nickname and server, you will be excluded from the list of participants.
- Rewards will be distributed based on the "game nickname" filled in when participating in the event.
※ If you change your nickname, the reward may not be distributed normally.
- Each account can only receive the event reward once, and repeated participation will be excluded from the distribution list
(cannot participate in the same STOVE forum event in other languages at the same time).
- Please check the details in the[Event Regulations].
Thank you!
Hello, Masters! This is Milk Empire.
The 2026 Q1 update for [Maid Survival: Little Angel] will be carried out on March 6th (17:00 KST)!
The new content added in this update is as follows:<wbr>
1. Playable Maid Warrior
- High-spirited martial arts girl maid [Ring]
- [Ring] Stage 1~3 Story
Ring, a passionate maid who polishes herself by cleaning up demons with the family's martial art 'Dohwa Taegeuk Kwon'!
Please look forward to her performance in Little Angel!<wbr>
2. Memory
- Story Replay Function
You can now re-watch the main story, each stage story of the Maid Warrior, and more!
3. Added Resolution Support
We support a wider variety of screen resolutions, including the Steam Deck resolution!
4. Added New Weapons and Items
- 1 type of weapon and 1 type of item have been added!
Weapon: Muyeonggak
Item: Faded Black Belt
Please check the details in the game.
5. Other
- Fixed some minor bugs
Thank you for always supporting and loving Little Angel♥
Why do users feel overwhelmed by the grandeur of a space or feel tension in a boss battle? It's thanks to 'level design,' which gives logic to the virtual space and designs the user's play flow.
Level design is an indispensable area in creating a world called a game. We met Kwon Yong-jin, the team leader of the Smilegate Level Planning Team, to hear about what level design is and what level designers do. We introduce how 'empathy' that reads the user's mind beyond technical implementation determines the completeness of the game, and the detailed work journey of level design that is refined through hundreds of simulations.
Q. Nice to meet you. Please introduce yourself.
Hello. I'm Kwon Yong-jin, who is in charge of 'Lost Ark' level design. I've been working as a level designer for 10 years since joining the company on January 4, 2016. I'm busy every day, but I'm enjoying my work.
Q. Some people may be unfamiliar with the job title 'level design.' Please introduce the job.
It's not easy to explain because the history of the job is short, and the role and scope are different for each company. To put it simply, level design is a job that designs all the spaces where users play, fight, and perform missions. We also design how users will behave while playing the game and what feelings they will have through that behavior. In other words, the level designer's job includes not only the space implemented in the game, but also predicting and designing the user's play flow and emotional curves.
Q. What does 'level' in level design mean?
I think 'level' is a structural concept like the difference in height or stage of a space. For example, like going up to the second floor by taking the stairs from the first floor, dividing the stages according to the height or composition of the space.
If this flow concept is the level in terms of space, the player's experience can also be called a level. It means the intensity or flow of emotions that a user experiences in a space. For example, if the level of stress you feel while playing a game is up to 10, a level of 7 will stimulate your desire to challenge, but if you go up to a level of 8 or 9, you will feel unpleasant. Adjusting the flow of emotions like this is also an important area of level design.
Q. I'm curious about how you work specifically.
For example, let's say you're making a horror game. The space design will be completely different depending on the planning direction, whether you want to give the user psychological fear or physical fear by introducing something like a monster. If you want to give psychological fear, creating a closed space can be one way. If you are being chased by something, a wide space with no end in sight may maximize the fear. If you want to give the user anxiety, it may be effective to create a closed indoor concept with corridors, stairs, and several rooms and doors.
In this way, we first design the entire space according to the concept and planning of the game, and then carefully draw the user's emotional line and fill in the detailed space and design elements one by one. We refine it through simulations at each stage, adding emotions and stories to the game space.
Q. How do you collaborate with other teams such as planners, artists, and programmers?
The collaboration method also varies depending on the type of content. For example, in the case of a linear structure story with a clear beginning and end, the level design part takes the lead in the collaboration. After considering the space design and directing method according to the user's emotional flow, we coordinate with the quest team, scenario team, combat team, and art team.
On the other hand, in the case of Lost Ark's Chaos Dungeon, where users play in a specific space without moving, the content planning team plays a leading role. When the content planning team requests 'this type of level design is needed,' the level design team designs the size and shape of the space that fits that type.
Q. Do you have your own know-how to draw good collaboration as a team leader?
When collaborating, I approach it with the attitude of 'Let's find a way to make it possible.' For example, let's say a team asked me to build a skyscraper like Lotte Tower. It takes a long time and a lot of resources to implement a 123-story skyscraper. In that case, I always ask what 'emotion' they want to realize through that space. If you want to give the user the overwhelming feeling of height, it doesn't have to be 123 floors. We find a point where we can satisfy each other by suggesting realistic alternatives that meet the intention. Rather than saying 'It's impossible' unconditionally, I persuade them by saying 'It's possible' if you do it this way. After all, we all have the same desire to give pleasure with a good game.
Q. Have you dreamed of becoming a level designer since you were young? I'm curious about the story of how you became a Lost Ark level designer.
I didn't know the job of level designer from the beginning. When I was in the 3rd grade of elementary school, I vaguely thought 'I want to become someone who makes games,' and that feeling led me to major in game planning. But after being discharged from the military, my worries grew.
I started to wonder, 'Can my planning be implemented as an actual game?' So I thought I should learn one thing, whether it's graphics or programming. Instead of returning to school, I chose to register for a graphics academy, and after a year, I started working as a graphic background designer. The work was really fun, but in my heart, I always had the thought, 'I'm a game planner, so I shouldn't forget that dream.' So when an employee in charge of motion in the same team resigned, I volunteered to take on that task. When the impact manager resigned, I took responsibility for that task as well. I thought that if I experienced various jobs, I would be able to plan games in more detail in the future, and I would be able to collaborate more smoothly with other teams. Even when my monthly academy fee was 400,000 won when I was receiving a monthly salary of 1 million won, I was happy. Later, I transferred to the planning team and took on the level design job for the first time. A series of processes that started with the desire to 'make a good game' has become a solid asset for me to work as a level designer now.
Q. Your story of starting as a game planning major and becoming a level designer is really interesting. What qualities should a good level designer have?
People around me call me a logical and analytical 'T-type person.' But when I do level design, I think of myself as an 'F-type person' who values emotions and knows how to empathize.
I think that when a player enters a space, for example, a cathedral, they need time to explore the space and feel the atmosphere. They need to be given time to accept the information given by visual elements such as pillars, frames, and lighting, and the emotions felt there.
If monsters pop out from the beginning without that time, the space will only remain a simple battlefield.
On the other hand, if you design the player to recognize the details of the space and imagine the next, they can recall the meaning like a puzzle in the final stage. They say, 'Ah, that's why that frame was in that space back then.' To make that possible, technical skills alone are not enough.
You must be able to constantly empathize and imagine how users think and feel.
That's why I think level designers must have an F-type code. Of course, skill is the first basic virtue. (laughs)
Q. Please introduce a case that was personally impressive or achieved great results among the projects you have worked on.
All projects are meaningful, but the biggest achievement in terms of objectivity is Lost Ark. In particular, the 'Kayangel' dungeon, which is the climax of the game, is a space I designed, so I have a great affection for it. I am personally satisfied because I think it is a design that maximizes the user's emotions.
We had to capture the structure of ordinary characters fighting against huge beings like gods. So I tried to design an inefficient and overwhelming space as possible from a human perspective. I wanted to make users feel awe the moment they entered the space, thinking, 'I'm going up to the end of the sky and facing God.' On the other hand, I wanted to put a message of gratitude and support in the space for the users who had overcome all kinds of adversity and stood in that place, saying, 'Thank you for coming this far.'
Q. On the other hand, I'm also curious about black history or mistakes you don't want to remember.
About 10 years ago, I made an island. Not only monsters but also other players were set as enemies on the island. I thought this complex battle would be a dynamic mess in a positive sense. It just became a mess. (laughs) They were intertwined, and I couldn't tell who I hit or who hit me. Such content left no emotion or fun. I forgot about it for a while, but now that I think about it again, it was a pretty big mistake. (laughs)
Q. What do you particularly focus on to present a pleasant level design?
Simulating countless times from the perspective of various users! Because the way users play the game and the emotions they feel in the game vary widely. It's not an exaggeration to say that I simulate it more than 300 times in my head. Not just filling in numbers, but predicting various cases with a new perspective every time. Overcoming boredom and being sincere and consistent!
Q. When do you feel that you did a good job becoming a level designer?
Actually, I feel it almost every day. Job satisfaction is the highest. (laughs) I like games so much, so I can't help but enjoy making games myself. To be honest, there are very rare times when I 'don't want to do it,' but most of the time I enjoy and have fun working. I'm willing to say OK even if I have to make a game all night. The process of imagination being implemented as an actual game is so exciting. Above all, when I face the reactions of users enjoying the game as intended in the first proposal, I feel that 'I'm glad I'm making games.'
Q. What are your future goals as a level designer?
I really like cute things. (laughs) I want to create a warm space with cute characters, a game that everyone can't help but love. I hope I can achieve my dream someday.
I hope you can sleep soundly without waking up in the middle...
I hope Stove Indie members also have a good night's sleep
If we endure tomorrow, which is Friday, the weekend will begin again...!!
Stove Indie members, it may be tough, but fighting!
https://store.onstove.com/ko/games/104137
You can use it for 880 won now!
Run endlessly and challenge yourself for the best title! And to commemorate the release, we're holding a simple event!
We will randomly give prizes to those who certify the screen showing the score and title on this bulletin board with a screenshot!
This is a temporary Discord room created for Infinite Road score certification! The higher the level of the title, the higher the probability of receiving a prize!
https://discord.gg/CyMJDE9v
The list of prizes is as follows.
1st place: 10,000 won book culture gift certificate
2nd place: Baskin Robbins Single Regular Ice Cream
3rd place: Compose Coffee Americano (ICE)
The event closes at 23:59 on March 11th. The lottery and reward distribution will be held on March 12th.
The official 4-panel comic, created in collaboration
with artist @tare_nu, is now live!
Meet Chizuru 👀
I got a Steam key for "Planet Coaster" at Digiphile.
I also got "KNOCKOFF," which is scheduled to transition to paid sales on Steam.
Also, on Epic, I got the PC version of "Turnip Boy Robs a Bank" and the Android and iOS versions of "Little Nightmares."
I'm so happy to have received so much~
World transfer (Dien Lindris Ulan) is once a month!
Please make server transfer between servers (1~10) a permanent transfer!!!!!!!!!!!!!!!!!!!!!
It's pink haha Thanks Hyohae hyung haha
마녀의 샘 3 Re:Fine - 리뷰
어려운 시스템이 없어 전 연령이 무리 없이 즐기기에 좋은 육성 RPG
By Seulki Oh
마녀의 샘 3 Re:Fine(이하 리파인)은 차별이 없는 세상을 만들기 위해, 안개가 가득한 숲에서 서로의 빛이 되어준 작은 마녀와 소년의 이야기를 그린 육성 RPG 이다. 3편이라는 타이틀로 인해 시리즈로 보이지만, 시리즈를 플레이 했다면 눈치챌만한 반가운 요소를 제외하면 사실상 독립적인 작품이기 때문에, 전작을 반드시 해야 할 필요는 없다.
리파인 버전은 모바일로 출시된 마녀의 샘 3보다 유려해진 일러스트와 부드러워진 모델링으로 인해 단번에 시각적인 업그레이드를 느낄 수 있었다. 3D 게임 특유의 캐릭터 모델링 외곽선이 없어 더 아기자기하고 포근한 느낌이 드는 그래픽과 함께, 마녀의 머리 위에서 늘 함께 하는 인형인 페일러는 어쩐지 토끼 귀 같아 귀여움을 더해준다.
무엇보다 모바일 버전과 큰 차이점은 스토리 내내 풀 보이스를 지원한다는 점이다. 이로 인해 캐릭터들의 성격이 보다 명확하게 파악되었으며, 인간 세상에 낯선 주인공 아이루디가 시간이 지날수록 점점 표현에 유연해지는 목소리에서 느껴지는 감정은 텍스트만으로는 느낄 수 없는 영역이고, 이야기 몰입하는데 큰 비중을 차지했다.
게임은 기본적으로 다양한 수련과 아이템을 통해 아이루디를 성장시키는 것이 목적이며, 전체적으로 깔끔하게 구성된 UI 덕분에 복잡하다는 인상 없이 진행할 수 있었다. 특히 한 페이지에서 한 번에 스토리 목표와 퀘스트를 구분하여 읽을 수 있게 해주는 '마녀일지'는 굉장히 심플하면서도 편의성 있게 설계되어, 편하게 상황을 파악할 수 있었다.
전투는 파티원의 개념인 인형들과 같이 싸우는 턴제 방식이며, 인형은 한 턴 당 하나씩 총 3개까지 부를 수 있다. 인형은 자신의 능력대로 자동으로 싸우는 만큼 때때로 다양한 인형이 필요한데, 인형을 만드는 방법은 마녀의 집 지하실의 인형들에게 게임을 진행하며 얻은 영혼석을 주입하는 것으로 간단하게 사용할 수 있다.
아이루디는 마녀지만 검술과 마법, 이를 조합해서 쓸 수 있는 마력 검술까지 있기 때문에 다채로운 전투가 가능했다. 여기에 인형까지 더해진 결과 전투에서 다양한 조합을 시도해 볼 수 있는 재미가 있었으며, 이 같은 전투의 재미가 엔딩까지 유지된 결과 적과 더 싸우고 싶은데 남은 적이 없어서 집으로 뛰어갔다가 다시 오는 경우도 있었다. 턴제 게임은 스토리가 길고 싸워야 할 일이 많으니 전투 템포와 구성에 따라 자칫 지루할 수 있는 요소가 많은데, 리파인을 플레이하는 동안에는 이러한 경험을 하지 않았다.
마녀 자체가 수련을 해서 키워지는 방식인 점 역시 직관적이면서 좋은 부분이었으며, 이와 연관되어 마법진 생성 방법이나 도구 제작법을 배운다는 것도 충분히 개연성이 있는 흐름이기에 기획 역시 섬세하다고 느꼈다. 어렵게 스킬 포인트를 찍는 시스템이 없어 전 연령이 무리 없이 즐기기도 좋으며, 무기나 인형도 마녀의 능력에 기반하여 강해지기 때문에 무기 강화 같은 복잡한 시스템을 굳이 거치지 않아도 되었다. 물론 그런 시스템을 활용해 더 강해지고 싶은 사람이라면 얼마든지 선택할 수 있는 선택지가 존재한다는 것도 이 게임의 강점이라 할 수 있다.
코스튬은 일러스트뿐 아니라 모델링 의상도 바뀌어서 만족감이 높았다.
이러한 결과, 게임은 무기 종류도 아주 많지 않고 능력 역시 마녀 자신의 능력치에 기반하기 때문에 초반 스토리에서 선물 받은 무기로도 충분히 엔딩을 볼 수 있게 설계되어 있으며, 나는 무기 효율이 좋아서라기보다 그 무기를 들고 있는 캐릭터가 귀여워서 종종 변경했다. 인형을 충분히 키우고, 수련을 충분히 하며 육성한다면 무기의 변경으로 클리어하기 어려운 난이도의 게임이 아니기 때문에 가능한 결과다. 마녀가 강하면 어떤 무기를 들어도 강했다.
무기 역시 후반부에 만들어주는 무기는 거대한 금색의, 누가 봐도 전설 무기 같은 디자인이었던 부분도 재미있었다. 이미 강한 것은 무기보다는 마녀라는 것을 알고 있음에도, 그 멋짐이 너무나 유쾌했다.
전투에 필요한 마법진도 직접 조합해서 쓸 수 있는데 한번 만들어둔 마법진은 여러 번 활용해서 모든 조합에 쓸 수 있다는 점이 좋았다.
하나 아쉬운 점이라면 지도 편의성인데, 지도를 보면서 이동하는 것 자체가 불편했다. 마법진을 통해 맵 곳곳으로 이동할 순 있었지만 마법진은 텍스트로만 표시되는 만큼, 원하는 곳으로 가려면 맵과 텍스트를 계속 비교해야 했다. 마법진을 지도와 동시에 지원하거나 지도에서 십자 키로 지역을 확인할 수 있었다면 좋았을 것이다.
엔딩 이후에만 만날 수 있는 특수 보스들은 굉장히 강한 경우도 있으니 단단히 준비해야 한다
메인 스토리를 끝내면 추가 컨텐츠 모드가 존재하며, 퀘스트는 표시되지는 않지만 이곳저곳을 돌아다녀 보면 사연이 있었던 마을 사람들과의 대화도 가능하고 새로운 보스와의 전투, 완전히 새로운 구역으로 이동까지 가능한 경우도 있었다. 그 결과 게임은 주인공과 서브 캐릭터는 물론이고 마을의 NPC들조차도 점점 성장해가는 다채롭고 입체적인 세계가 되어가기에, 나는 엔딩 이후의 또 다른 시작의 이야기인 후일담 플레이를 꼭 권하고 싶다. 인생도 어떠한 사건의 엔딩이 끝이 아닌 새로운 시작으로 받아들여지는 것 처럼, 후일담 역시 이 게임의 인상을 결정할 중요한 부분 중 하나이다.
평결: 9/10 (Amazing)
모바일 게임에서 충분히 좋았던 게임이 스위치로 옮겨지면서 더욱 좋아진 선례가 된 게임. 어려운 시스템이 없어 전 연령이 무리 없이 즐기기에 좋다. 캐릭터뿐 만 아니라 배경 모델링까지 부드러워졌기 때문에 전체적으로 화사한 느낌이 더해졌으며, 깔끔하게 구성된 UI와 스토리 내내 풀 보이스를 지원한다는 점은 차별이 없는 세상을 만들기 위해서, 안개가 가득한 숲에서 서로의 빛이 되어준 작은 마녀와 소년의 이야기를 더욱 따뜻하게 만들어준다. 메인 스토리를 끝내면 즐길 수 있는 추가 컨텐츠 모드 역시 게임을 보다 다채롭고 입체적인 세계로 만들어준다.
