Some kind of basic enemy and boss AI and an easy health mechanic for both characters and AI. What I'd like in BB 3 is some kind of tilemap editor, similar to the one in C2, where you literally draw your level if you want to. It's really not that hard to learn and although HTML5 can become a problem in future, for now it works just fine. I like it a lot still, I'm making a simple game in it just for fun but for the platformer I went ahead and got C2. And then I saw BB is severely lacking in more complex things. I tried BB, made a simple game in 3 days without to much problems, didn't look too much at quality because it was just a test anyway.īut then I started to make quite a ambitious platformer with bosses, enemies spawning health after dying, following the player, destructible enviroment etc. I can give you my answer, although it probably won't be what you expect. Its SUCH AN OLD GENRE! Almost everything imaginable has been done before.(I need some advice on this part.) How should i approach building a Scroller Game? I JUST SUCK at thinking of NEW INNOVATIVE Ideas beyond what i see in normal 2d Scrollers. But hey, its really the best at what it does, making 2d Scrollers, as customizable as your imagination permits lightning fast! My only wish is that Buildbox could grow faster so that we can compete on better footing when compared to other Game Developers who work with Unity and the like. At the same time i feel my creativity severely limited. Why is that? I feel like it is a highly advanced Level Editor of sorts that is just powerful enough that you can make numerous types of games with it. ![]() ZERO CUSTOMIZABLE LOGIC means NO FLEXIBILITY and THUS NO POWER.įor some reason. Theres also GameSalad, Stencyl, Construct2 that require logic but no coding involved. Still Sucks stands as a fun and highly enjoyable addition to the band's discography, delivering exactly what a Limp Bizkit listener wants to hear.Hi guys I was just curious to know what is it that you guys love about BuildBox that you guys stay with the Game Engine. Stretching further, "You Bring Out the Worst in Me" echoes the beauty-and-brutality approach perfected by fellow nu-metal survivors Deftones, while the caustic "Pill Popper" incorporates the mainstream industrial crunch of onetime antagonist and "Hot Dog" muse Trent Reznor. These classic Bizkit ragers are balanced by tracks such as the intimate cover of the 1982 INXS song "Don't Change," the plaintive, pop-leaning "Goodbye," and the dour Alice in Chains-lite "Empty Hole." They even attempt full-on grunge with "Barnacle," bringing the goals of 2011's "My Own Cobain" to reality. Once one of the most reviled frontmen in popular music, the now father and film auteur has set aside the Napoleon complex and penchant for tantrums, accepting his band's status in history with self-effacing wit and a very meta viewpoint on tracks like "Dirty Rotten Bizkit" and the hilarious "Love the Hate," which finds him trading disses with a Bizkit-hating emcee in a style similar to "All in the Family." To silence critics and drive the point home that they are truly unfazed, he reveals, "The joke's on you/You missed one clue: we don't give a f*ck." Elsewhere, on the explosive "Out of Style," a matured Durst atones for past band drama, pleading, "We should be on the same team/If we ain't, then we're nothing" atop a twin scratch-and-riff attack provided by Lethal and Borland. Ten years later - in the midst of a nu-metal revival driven by nostalgic youths who weren't even old enough to remember Woodstock '99 - enough time had passed to soften public opinion, and Durst, guitar virtuoso Wes Borland, bassist Sam Rivers, drummer John Otto, and DJ Lethal returned to a surprisingly eager audience hungry for unfussy rap-metal and the halcyon days when the most recognizable red hat was Durst's backwards Yankees cap. As the tides turned and nu-metal lost traction to the style and substance of the early-aughts rock revivalists, Limp Bizkit attempted an artistic evolution with the underappreciated Unquestionable Truth and Gold Cobra, which was too little too late. ![]() Building an empire on unbridled anger, sophomoric humor, and an obnoxious defiance born from a massive chip on Durst's shoulder, the band were on top of the world at the turn of the millennium. A charming dose of fan service, the set delivers exactly what one would expect from the kings of late-'90s mook rock: fat beats and head-smashing riffs backing Fred Durst's cheeky raps and endearingly imperfect singing. Reaching full self-awareness with Still Sucks, nu-metal veterans Limp Bizkit stage an unlikely comeback as hard-to-hate underdogs after a decade-long hiatus.
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