Clickity Clack, Prototyping with Player Feedback.

When developing gameplay ideas on paper, I can visualize how they might play out, but I never truly know until I prototype them. My first step is simply confirming that what I want to achieve is technically possible within the engine and my own capabilities. Sometimes, engine limitations—or even my own—can force me to rethink my approach. Once the prototype is working, the next step is testing how it feels. Is it fun? Does it fulfill the needs of the mechanic? Even if it works, it might clash with other mechanics or lack the potential I originally envisioned. Once I’ve validated the idea, ensured it fits within the broader design, and confirmed that it works, it’s time to refine the experience—because mechanics can often feel flat without the right feedback.

Good feedback can take many forms, including combinations of:

• Animation

• Asset creation

• Visual effects

• Sound effects

• Timing adjustments

• UI elements

• Camera shake

• Haptics and rumble

• And more
  

One of the best examples from my career comes from an unreleased top-down brawler I worked on. The game featured a large character throwing a flying punch, but it felt floaty and weightless. At first, I assumed the problem was the animation. However, despite having a snappy, arcade-style animation, the attack still lacked impact. Sound effects helped, but something was still missing. From a visual standpoint, the punch looked decent, but from a gameplay perspective, it didn’t feel right. The missing piece? A simple impact visual effect and a subtle camera shake when the punch landed. It wasn’t a single element that made the punch feel good—it was the sum of all its parts. However, the absence of any one element made me question the entire animation and its timing. That experience taught me the importance of implementing blockout versions of key feedback elements as early as possible.

Bringing the World of The INDIGO Initiative to Life

Using the G.E.A.R. Gun to sample an element

The world of The INDIGO Initiative is designed to feel mechanical and tactile. This extends to both the environment and the player’s toolset. Gears, dials, split-flaps, and moving mechanical parts help reinforce this feeling, making the game’s mechanics not only satisfying to use but also deeply immersive.

The player wields the G.E.A.R. Gun, which allows them to sample an element and use it as ammunition. I’m especially happy with the early iteration of the sampling mechanic’s feedback. While the core functionality worked, adding animated mechanical components, a textured gun model, sound effects, lighting, and gamepad haptics brought it to life. Even at this early stage, the mechanic communicates how the final polished version—with additional animations—will feel.

Lightning in a Bottle

Using the G.E.A.R. Gun to destroy a crumbling wall

One of the most consistent pieces of feedback I’ve received from playtesters is how satisfying the lightning strike feels. This is a perfect example of effective feedback design—its power is sold through a combination of sound effects and camera shake, making the player feel like they’re wielding the power of the gods.