The explosion collision mask is larger than the actual sprite, again increasing perceived power, and while the explosion lasts for 9 frames, the collision is only active on the second frame. Technically, we’ve also done a few things. Detonating terrain (or enemies) also freezes the entire game for a couple of milliseconds, and shakes the screen a bit more. Players can create both cover and shortcuts, and it also opened up the way for more interesting enemy designs involving terrain manipulation.Įffect wise, destroyed walls spawn debris, which flies and creates a nice dust trail. This doesn’t only make blowing things up feel extremely powerful, it also influences gameplay in a great way. Next, we allowed explosions to destroy walls. Dust doesn’t last very long and is used to communicate movement, while smoke lingers longer, looks darker, and is usually created by fiery things. When an explosion spawns, it’ll shake the screen a little, spawn a ring of dust, and a bunch of smoke. Nuclear Throne Explosion by Paul Veer (Click for GIF) Explosions deal damage to enemies, props, and the player. Our most common explosion consists of a beautiful 9-frame animation by Paul Veer (note the great trick with the black and white circles rapidly creating contrast), and a loud, crunchy sound effect by Joonas Turner. If you try to distil all that power and adrenaline-filled chaos into one thing, chances are you’ll end up with explosions! So let’s dive deeper into those glorious balls of fire, and see how we’ve made them for our post-apocalyptic roguelike-like Nuclear Throne.
That’s what we do at Vlambeer, we make action games. Take a look at the trailer above, and you’ll see that Nuclear Throne is in essence an action game.
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